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Portfolio

Monica Rita Basbouss Moukarzel / Chemin des Triaudes 11-120, 1024, Ecublens, VD, Suisse/ +41 76 233 14 23 [email protected] [email protected]

Nationality

15.11.1988/ Venezuela Lebanon/ Venezuela

Mother tongue

English/ Francais/ Arabic

Written/ Spoken fluently

English/ Francais/ Arabic

Written/ Spoken

Español

Curriculum Vitae

Date and place of birth

Education

EPFL/ENAC/SAR/ Bachelor of arts in architecture 3rd year studio/ Bernard Khoury

2008-2009

2nd year studio/ Atelier ALICE/ prof. Dieter Dietz

2007-2008

1st year studio/ Atelier ORTELLI/ prof. Luca Ortelli

2006-2007

Lycee Francais de Koweit/ Baccalaureat scientifique

1995-2006

Antonine Sisters’ School, Ghazir, Lebanon

1994-1995

Ecole Sainte Famille, Sahel Alma, Lebanon

1991-1994

Travels

ITALY/ Venice/ Mantua/ Verona/ Vincenza, UK/ London, FRANCE/ Lille/ Calais/ Paris, UAE/ Dubai/Abu Dhabi, VENEZUELA/ Canaima/ Caracas/ Puerto Ordaz,

2008/ 2009

ITALY/ Ivrea, FRANCE/ Salines de chaux, Arc et Senans, CYPRUS/ Agia Napa

2007/ 2008

IRELAND/ Dublin, BAHRAIN, UAE/ Abu Dhabi, FRANCE/ Paris/ Avignon/ Nimes, LEBANON/ Beirut, SYRIA/ Damascus

2005/ 2006

FRANCE/ Paris/ Biscarosse/ Jezeau, KUWAIT, SAUDI ARABIA, SYRIA, JORDAN/ Dead Sea, LEBANON

2003/ 2004

EGYPT/ Cairo/ Alexandria, TURKEY/ Ankara/ Marmaris/ Istanbul

2001/ 2002

...having lived in Venezuela (1988/1990), Lebanon (1990/1995), Kuwait (1995/2006), Switzerland (2006/2009)

Professionnal Experience/

Photography Session/Lebanese Girl Scouts, English tutor/private classes

2008/ 2009

Internship in TBWA, advertising and PR agency, Kuwait branch

2007/ 2008

Assistant Librarian at the Lycee Francais de Kuwait

2006/ 2007

Introduction to informatics tutoring Saint Andrews International Model United Nations, Dublin Actor, Huis Clos, by J-P Sartre, TROUPE PAMART, Lycee Francais de Koweit

Internship in MEDIA BOX, publishing house, Kuwait

2005/ 2006

Model United Nations, Kuwait Director/ actor in 8 femmes,by Francois Ozon,TROUPE GONZALEZ, Lycee Francais de Koweit, merit and achievement award

Internship in TBWA, advertising and PR agency, Kuwait branch

2004/ 2005

Internship in IPSOS Stat, statistics and marketing agency, Kuwait Actor, La cantatrice chauve, by Eugene Ionesco, TROUPE GONZALEZ, Lycee Francais de Koweit

Adobe Creative Suite (Illustrator/InDesign/Photoshop) Microsoft Office (Word/Excel/Front Page/Power point) Rhinoceros 4.0/Vray rendering engine Maxwell Studio rendering engine Autocad Sketchup

Computer skills/

Curriculum Vitae/ First year/ ATELIER ORTELLI/ Semester I Exercise/ Urban staircase/ Exercise/ Urban installation: the market/ Semester II Project/ Low rise, High density: the individual house/

Second year/ ATELIER ALICE/ Semester III/ Gravity at work/ Semester IV/ London festival of architecture/ Urban installation: Overflow/ CNC Seminar/ The sitscape “Le Leman des Ingenieurs”: a study on Lake Geneva/

Personnal research and projects/

Letters of recommendation/

Table of contents/

Photography/ Art/

First year/ ATELIER ORTELLI/

Urban staircase/ Slope and terrain study/ Elaboration of a concept CONCEPT/ Plans and sections, pencil.

The site is located in one of the most important industrial headquarters of Lausanne. Next to the trendiest clubs, its location presents some of the most daring street art. Behind the site is the MAD!, most popular club in the area, upon which is painted a 3 meter radius condom. The specificity of this site would also be the very steep slope upon which the staircase is to be implanted. The idea of this exercice was to modify the slope according to the project, and adapt the project to the resulting slope in a rational manner. A staircase suspended on poles was an option, but beside the point. The idea was to construct a staircase revealing the very cold and industrial aspect of the block, avoiding the tempting monumental and lyric approaches.

Exercise/ Urban staircase/

The staircase is made of steel, modular armed concrete blocs, and glass. It is very narrow, accentuating that it is solely there to fulfill its circulation purpose. All ornementation, decoration and attempts of added esthetic value have been discarded to leave a minimalist, hollow shell, only accentuated by the lighting designed for it.

Urban staircase/ Axonometric view/ lighting and fixation information Axonometric view, pencil.

The site is the Place de la Riponne, a plaza situated in Lausanne. The site plan is visible on the next page. As you can see, the plaza is defined by two main buildings on its sides: a museum and a public library. The rest of its edges constitute entry points for pedestrians. The plaza was known for hosting one of the biggest markets in Lausanne, the Saturday morning market. However, upon observation, the market as it is today is very chaotic, resulting from the absence of a proper infrastructure to host it. The merchants travel with their carriages and set up their stands where they can find space. Some years ago, a construction placed in front of the plaza was demolished, and that was where the market used to take place before it became so empirical. The idea from this exercice is to elaborate a public space which is left unused, like this plaza, and using architectural tools, transform it into a versatile space where many activities can be held, one of which would be a market. After going to the market and observing the way the elements are placed, and most importantly the behavior of the pedestrians, I had a clearer view of the space and how it could be used. The project suggests two long arcades, under which the market can be held, and which define a central space, a sort of plaza in the plaza, where activities such as concerts, theatre performances, and many other communitary activities can take place. Inspired by the museum behind it which is bordered with arches, the two elements are vaulted and rest on concrete columns. The modular aspect of this installation allows a fast and economic construction, as well as a regular and defined esthetic.

Exercise/ Urban installation: the market/

CONCEPT/

Plans and sections, Rotring.

Snapshots of the model in site. Cardboard.

Museum

ELEMENT 1

ELEMENT 2

Public Library

Plaza

View into element 1

View into element 2

View of element 2 from the new metro station exit

View of the plaza from the entrance stairs next to the museum

Axonometric view of the project in the site. Freehand, Pencil.

Sketches, detail of the modular construction.

Low rise, high density. This was a project for a house destined for a family. The idea was to project a house which is affordable, and which takes into account all the new considerations for sustainable development. The site was divided into lots and each student given a space in which to elaborate the project. In my case, I chose to use wood, and redefine the traditional rural family house in an urban context. The use of wood was important for me, to stay within the regulations of sustainable development. An eco-friendly house, with a spacious yet rational interior. The lower story plan divides the house into two main strips: circulation, storage, bathroom and entry in one, and the living space in another. The choice of using a punctual static system allows a fluid circulation and an impression of an extended space which is accentuated by the large windows in the axis of the entrance. As for the upper story, the rooms are distributed around a common central space in which a small living room or study can be placed. The circualtion and bathrooms are superimposed to the ones in the lower story for better access and rational distribution of plumbing, wiring, etc... The division of the house into two floors is in the goal of separating the more public area of the house, where the guests can be, and the more private one upstairs. The facade is based on a regular grid, and is developed based on the interior lighting needs. Long windows are preferred to more square ones for the intensity of the atmosphere that they can provide through the light they let in. As for the garden, it is a reflection and an extension of the house. The downstairs living room is prolongated through a wooden terrasse, and the rest of the garden is covered by a wooden pergola. The accentuation of the middle axis in this house, which contains the entrance, comes from a need to give more importance to the dining area of the living room, which is where the children and parents gather once a day to be a family for the duration of a meal in today’s busy world where family values seem to have taken the backseat to work, studying, and friends.

Project/ Low rise, High density: the individual house/

CONCEPT/

Plans, sections, elevations. Pencil.

Detailed plan, construction details. Pencil.

Sectional detailed axonometric - Pastel.

First floor

Model - View from main street (North-east)

16 m2

MASTER BEDROOM

BEDROOM 1 16 m2

23 m2

LIVING ROOM

BATHROOM

26 m2

STAIRCASE

8 meters

BEDROOM 2

BATHROOM

12 meters

Model - View from garden (West)

Ground floor

SHED

PERGOLA

Model - Main entrance

TERRASSE

LIVING ROOM

DINING ROOM

KITCHEN

45 m2 15 m2

STAIRCASE

BATHROOM

Model - Diagonal view into kitchen and garden from main entrance

Poster: “Wood: The return? Wooden constructions in an urban context”

Second year/ ATLIER ALICE/

Gravity at work/ Experimental models/ physical constructs/ conceptual course/

GROUND/ Studying ground as a 3 dimensional object as opposed to a linear surface/ Extrusion of ground and the study of impact, weight, acceleration/

What about scale?

INTEGRATION/ COMMUNICATION/ Abstracting the lower plate/ Making the physical construct an integral part of the ground/ Studying motion, speed and deformation/ Scale is still abstract/

“Gravity, as we see it, is manifested mainly through weight. Once again, it is about communication, about give and take through gravity. In the position we put ourselves, the model is necessary for our stability, and we play a part in its own steadiness: if me move, the chair moves with us, when we get up, the chair has a life of its own and moves in a seemingly random fashion. In our models, we are exploring a limit, an ephemeral state we have modelized into something visible in a larger time frame. In the new model, we have explored the idea of a chair further: we have given it an orientation to better understand its movement, as well as ergonomy to truly render it a human-scale experience of gravity. Finally, we have given it higher precision, it is now able to sustain more weight - without taking away the richness of its current movement, quite on the contrary - , therefore deforming in a controlled environment.

Instead of being subdued by Gravity, we are now protagonists in its story.”

Semester III/ Gravity at work

Searching for the right material/

Experimental models/ physical constructs/ conceptual course/ EXPERIENCING GRAVITY/ HUMAN SCALE/ ERGONOMY/

x1

x2

x3

x4

y1

y2

y3

y4

Introduction of scale: the physical construct representing ground becomes a human-scale chair/ Understanding weight distribution and stability limits/ Ideas of comfort and ergonomy contrasting with the unstable appearance/ Disrupting the daily: the role of perception/

In brief, our journey has started with the idea of extruding ground to create a 3D space where the deformation of ground by gravity could be clearly seen. A block of earth sliced in half and slid along a rectilinear rail, this was a choice amongst many other possibilites of which we are fully aware. From then on, we applied Aristotle’s aphorism stating that Nihil est in intellectu quod non prius fuerit in sensu *(nothing exists in intellect, had it not existed in the senses first) , and thus chose to make gravity something which is really felt and experienced, allowing us to see it in a new light. With this, the following implications followed: an extension of time, for the eyes to see, an extension of space, for the mind to understand, an extension of scale and proportion, for the human body to become the main protagonist. Still through the familiar object which is the chair, we have tried to disrupt the daily in order to prove a point: stability exists if you know where to find it. Maintaining an oriented density plan, we have increased the degree of liberty lying within the chair by adding inclined elements which take lateral charges. More possibilities now exist along that extended time frame we have created which is the ephemeral limit before either collapse or stability.

Here ends the conceptual research. You are about to enter the phase of its translation into a pavilion, an urban installation, if you will. Instructions were concise: design an urban installation which speaks of gravity at work, conceptually coherent with the first “physical construct” phase. Choice of site was left to the students, but had to be part of the different hubs suggested by the London Festival of Architecture.

Gravity at work/ The urban intervention/

Which of our conceptual elements we want to translate/ A reasserted 3-dimensionality Stretching a time lapse in space and time A physical experience implicating the visitor A visual and sensorial differentiation pre and post-impact Communication amongst the different weights being used Communication between structure, material, and concept Physically rendering the idea of the limit between what is stable and what is not Using perception as the key element/ Allowing an exploration and comprehension of the human body Contrast between what you see and what you get Disrupting objects of the daily Abolishing preconceptions QVID TVM? What next? Using the element of surprise

Inspiration for the installation/

Peter Eisenman/ House X/ -

Paint trails describing the movements of the chair

« Suggesting a psychological void which provokes individual and cultural anxiety and dislocation » « Criticize the original forms of Euclidian geometry, the Cartesian spatial grid » De-composition « Ideas of ruin and decay » « They have recognizable aspects but are no longer the same elements » « An object resonating with its own being, though inexplicable it may be »

MANIFESTO/ THE IDEAS BEHIND THE PAVILION

“The geometry is born of the distortion of a square plan. Floor slopes of 5 degrees inside allow a fluid movement from one platform to the other. The cantilevered structure lets us combine geometry and efficient use of material : the angles outside on the extreme parts do not correspond on the interior and exterior.

The roof is seen as an independant element, parallel to the ground only when the pavilion is on its pivot point, which theoretically is the perfect state of equilibrium, close to physically impossible in this case. Through the different materialization and texture treatment, we try to make it a « floating object » unifying the different spaces in the structure.

The structure allows an interaction of the people inside it, not only amongst each other through their weight and the respective movements they impose on the pavilion, but also with the site and exterior elements : the vertical openings are frames, re-interpreting everyday scenes (from the monumental to the mundane).

Through the contrast between the inclination of the frames and the stable perpetual verticality of the surroundings, the human body is brought to question itself. Perception is thus put to doubt : reference systems are blurred.Through the horizontal openings placed prominently on the long axis of the structure, we try to introduce an idea of a horizon tearing the pavilion apart. The structure remains visible and we see an object resembling an extrusion. We thus connect back to the idea of the chair: The extrusion of a volume Its deformation through human weight

As for program, we are suggesting an observatory of the world, through the awareness of one’s role and place when gravity is at work.”

A wooden structure/ Exploring the capoacities of OSB/ Oriented strand board 14 m

The roof / Wood I- beams/ 60 cm section

9m

A

Horizontal unity/ Wood top crossbeams/ 2”x4”

Vertical poles/ Wood/ 2”x4”

Simplified plan/ 1:133

Interior cladding/ Wood pannels

Horizontal unity/ Wood bottom crossbeams/ 2”x4”

Horizontal cladding/ Wood panels

Complete sectional plan at 1m50/ 1:133

Base/ Crossbeams/ Wood I-beams

Base/ Beams/ Wood I-beams 3m

Horizontal cladding/ Wood panels

Exploded structural axonometric/

Section A-A/ 1:133

A

The site/ “Torrington Square is a square in Bloomsbury, owned by the University of London. Demographics consist mainly of students and their entourage. This is important for us, since we are looking to find a site where social interaction will be possible. For example a busy street in an industrial area would not be fit to receive our intervention. “

Site section C-C 1:1333 C

Site section D-D 1:1333

D

D

C

Site interaction and study of perception

Overflow/ Introduction and guidelines/ This semester, the studio was divided into 2 groups. The other group continued with individual projects, while us twelve students teamed up to form the design crew developing the project for an urban installation. The project was to be a continuation of the first semester’s research on the theme of Gravity, and was meant for EPFL’s contribution to the London Festival of Architecture, to which the ALICE studio was invited. Fast enough, the great group dynamic transformed our team into a real small scale architecture office. Our roles were different depending on the phase throughout the semester, but all twelve of us have participated in all the aspects of this process. Attached to this leaflet is the brochure which was produced at the time by our team.

“We have chosen to integrate our installation into the Tower Bridge Plaza, located next to city hall. The plaza opens up onto the Thames, giving a large, pictureframe view of the Tower Bridge and the city of London. Our choice was based on the various specificities of this site, mainly being the proximity with the Thames and the surroundings which frame the tower bridge and create a theatrical setting for our installation. As a result of these parameters, the specific light conditions and the tide were elements we had to integrate into our design. The tide was especially significant because of its own rhythm and its disengaged cycle. We were most interested in using this untamed force of nature as an activating trigger for a man-made controlled construction. Also, it was interesting to recreate the lost relationship with the Thames - it is what the city was built upon and yet it has been somewhat forgotten and goes unnoticed nowadays. The plaza, being conceived as a residual space, invites the intervention to invade it as a whole, and allows us to work with the ever-changing natural force which is the tide, through the six meter drop provided by the parapet.”

Thames

Plan view

Semester IV/ London festival of architecture/ Urban installation: Overflow/

Overflow/ Phase 1/ Site

JULY 2008 TIME ZONE UT(GMT) WALTON-- ON-THE-- NAZE Time

m

Time

CORYTON

TILBURY Time

m

NORTH WOOLWICH Time

LONDON BRIDGE

m

Time

m

m

Time

m

1

0.7 3.8 0.8 4.0

0351 1006 1620 2226

0.8 4.3 0.9 4.5

0421 1034 1651 2252

0.9 5.3 0.9 5.4

0433 1044 1702 2301

1.0 5.6 1.0 5.8

0450 1107 1726 2326

1.0 5.9 1.0 6.1

0522 1134 1755 2353

1.1 6.5 1.1 6.7

0556 1157 1829

1.1 6.4 1.1

2W

0424 1040 1651 2301

0.7 4.0 0.6 4.1

0448 1102 1720 2328

0.8 4.5 0.7 4.6

0522 1132 1754 2353

0.8 5.5 0.7 5.7

0534 1142 1807

0.8 5.9 0.7

0556 1205 1832

0.9 6.1 0.7

0628 1232 1903

1.0 6.7 0.9

0016 0659 1254 1935

6.6 0.9 6.6 0.8

2W

TH

3

0516 1134 1748 2357

0.6 4.1 0.4 4.2

0542 1154 1816

0.8 4.6 0.5

0616 1225 1852

0.8 5.6 0.5

0002 0629 1237 1906

6.0 0.8 6.0 0.5

0026 0653 1258 1931

6.3 0.8 6.3 0.5

0053 0727 1326 2005

6.9 0.9 6.9 0.6

0116 0756 1347 2034

6.8 0.8 6.8 0.5

TH

4F

0605 1225 1842

0.7 4.1 0.3

0025 0632 1244 1910

4.7 0.8 4.7 0.4

0049 0706 1316 1946

5.8 0.7 5.7 0.3

0059 0720 1327 2000

6.2 0.7 6.1 0.4

0122 0745 1348 2025

6.5 0.8 6.4 0.3

0151 0822 1417 2101

7.1 0.8 6.9 0.4

0212 0849 1437 2127

7.0 0.7 6.9 0.3

4F

5

0051 0652 1314 1933

4.3 0.7 4.2 0.2

0120 0720 1331 2002

4.8 0.8 4.7 0.4

0143 0754 1405 2037

5.9 0.8 5.7 0.2

0152 0807 1415 2050

6.3 0.8 6.1 0.3

0214 0833 1436 2115

6.6 0.8 6.5 0.2

0244 0911 1505 2150

7.2 0.8 7.0 0.3

0304 0938 1525 2216

7.1 0.7 6.9 0.2

SA

SU

6

0142 0737 1400 2021

4.3 0.8 4.2 0.2

0211 0806 1416 2051

4.8 0.9 4.7 0.4

0234 0839 1451 2124

5.9 0.8 5.7 0.2

0243 0851 1501 2136

6.3 0.8 6.1 0.3

0304 0917 1521 2201

6.7 0.8 6.4 0.3

0334 0955 1551 2234

7.3 0.9 6.9 0.2

0355 1022 1611 2301

7.2 0.8 6.9 0.1

SU

7M

0229 0820 1444 2107

4.3 0.8 4.2 0.2

0259 0849 1500 2137

4.7 1.0 4.7 0.4

0322 0920 1535 2207

5.9 0.9 5.6 0.3

0331 0932 1545 2218

6.3 0.9 6.0 0.4

0352 0958 1605 2242

6.6 0.9 6.3 0.4

0421 1034 1633 2313

7.2 0.9 6.8 0.3

0442 1103 1654 2340

7.1 0.8 6.8 0.2

7M

TU

8

0314 0903 1526 2151

4.1 0.9 4.1 0.4

0343 0932 1543 2221

4.6 1.1 4.6 0.5

0408 0959 1618 2245

5.7 1.0 5.5 0.5

0418 1011 1628 2256

6.1 1.1 5.9 0.5

0439 1036 1648 2319

6.4 1.0 6.2 0.5

0506 1109 1714 2348

7.0 1.1 6.7 0.5

0528 1140 1735

6.9 0.9 6.7

9W

0359 0947 1610 2236

4.0 1.0 4.0 0.5

0427 1014 1627 2304

4.4 1.2 4.5 0.7

0453 1036 1700 2323

5.5 1.1 5.3 0.7

0503 1048 1711 2332

5.9 1.2 5.7 0.7

0524 1112 1731 2355

6.2 1.1 6.0 0.7

0550 1143 1755

6.8 1.2 6.5

0016 0612 1215 1816

0.4 6.7 1.1 6.6

9W

10 TH

0446 1035 1657 2324

3.8 1.2 3.8 0.7

0510 1058 1714 2349

4.2 1.3 4.3 0.9

0538 1116 1746

5.2 1.3 5.1

0548 1128 1757

5.6 1.3 5.5

0608 1150 1816

5.9 1.3 5.8

0022 0635 1220 1839

0.8 6.4 1.4 6.3

0050 0656 1250 1900

0.6 6.4 1.2 6.3

10 TH

11F

0535 1130 1750

3.6 1.3 3.6

0557 1150 1806

4.0 1.4 4.1

0004 0625 1204 1838

0.9 4.9 1.4 4.9

0012 0635 1214 1848

1.0 5.3 1.5 5.3

0034 0655 1235 1907

1.0 5.6 1.5 5.5

0100 0722 1304 1931

1.0 6.1 1.6 6.0

0126 0743 1331 1952

0.9 6.1 1.4 6.0

11F

12 SA

0015 0630 1235 1850

0.9 3.4 1.3 3.5

0042 0650 1255 1909

1.1 3.9 1.5 3.9

0054 0719 1302 1940

1.1 4.7 1.5 4.7

0100 0729 1311 1950

1.2 5.1 1.6 5.1

0121 0747 1330 2009

1.2 5.4 1.6 5.3

0147 0815 1359 2033

1.3 5.9 1.7 5.8

0211 0837 1423 2056

1.2 5.9 1.6 5.8

12 SA

13 SU

0112 0732 1346 1956

1.0 3.4 1.3 3.4

0143 0753 1413 2021

1.3 3.8 1.5 3.8

0152 0820 1408 2047

1.3 4.6 1.6 4.7

0158 0831 1416 2057

1.4 5.0 1.7 5.0

0216 0847 1433 2117

1.4 5.2 1.7 5.3

0243 0916 1502 2142

1.5 5.8 1.8 5.8

0307 0939 1525 2207

1.4 5.7 1.7 5.7

13 SU

14M

0214 0838 1458 2103

1.1 3.4 1.2 3.5

0247 0858 1525 2132

1.3 3.9 1.4 3.9

0255 0923 1522 2153

1.3 4.7 1.5 4.8

0301 0933 1525 2202

1.4 5.1 1.6 5.1

0317 0951 1539 2223

1.4 5.3 1.6 5.4

0345 1020 1607 2249

1.5 5.9 1.6 5.9

0410 1041 1631 2314

1.5 5.8 1.6 5.8

14M

15 TU

0313 0936 1557 2200

1.1 3.6 1.0 3.6

0344 0956 1621 2229

1.3 4.1 1.2 4.1

0357 1022 1636 2251

1.3 4.9 1.3 5.0

0403 1031 1634 2259

1.4 5.3 1.4 5.3

0419 1051 1648 2321

1.4 5.5 1.4 5.6

0447 1119 1711 2348

1.4 6.1 1.4 6.2

0515 1139 1740

1.3 6.0 1.4

15 TU

SA

Time

SOUTHEND-- ON-SEA

0327 0944 1551 2201

TU

m

MARGATE

1

TU

3

5 6

8

TU

Analytical data was gathered and was crucial for a complete understanding of the site and its potential. Most important aspects were tide and light. Tide times, cycles, amplitudes, heights and variations had to be mastered in order to be used as an inherent part of the project.

Site section

Similarly, light and its modification by the surroundings were modelised in 3D using programs such as AutoCad and Rhinoceros, so that their impact on the project could be fully understood.

Tide data

Light studies

All dimensions of the surroundings were estimated from the photographs and other media material we had at our disposition. Precise data concerning buildings and other parts of the direct environment wasn’t gathered until our physical presence on site months later. However, our estimations turned out to be within a reasonable margin of error.

Overflow/ Phase 2/ Concept Our concept remained gravity, but we took it a step further, introducing ideas of porosity, light, and changing perceptions. Furthermore, the idea of an installation flooding or invading the plaza started coming to light, for example, bringing the movement of the river onto the land.

Conceptual collage/ Changing perceptions Conceptual model/ Flooding the plaza

Two main projects were born: a radial project working as a rib structure which would rise and fall with the tide, And a carpet-like structure which directly translates the movement of the tide into a wave, gradually invading the plaza. Finally, we decided to further investigate the idea of a carpet, it being a challenge to find a selfsupported structure.

An even bigger difficulty was to find the module which could allow a change in curvature. The carpet then evolved into a being which changes from a carpet to a screen, emphasizing the way the plaza is conceived, as a void in the midst of a heavy mass of construction.

Overflow/ Phase 3/ The ribs When parameters grew too numerous, the project became very dependant on factors we could not control. We then decided that a radical simplification was in order, so that we could go back a step, to the initial concept, and take a broader look at how it could be achieved. We projected a changing landscape, based on the city of London’s skyline, consisting of adjacent ribs. These ribs would be divided into two parts linked together by a joint. The upper part is always resting on the parapet, whereas the other needs a rail which can guide its movement upwards and stabilise the structure. The idea of accessibility versus inaccessibility caused by the tide is here translated by the movement of the ribs which deny access to the parapet during high tide, but offer a screen through which to see the opposite bank during low tide.

Cardboard model - installation in site, high tide

Cardboard model - installation in site, low tide

It was throughout the development of this project that the idea of radiality was born. The two entering points of the plaza were used to project ribs which are radial in plan, therefore implicating the bypassers visually and inviting them to approach the installation.

This radial disposition allowed us to push further our concept of porosity and changing views: if the visitor is standing in a position, he can only see through the ribs he is standing in front of. The rest of the installation blocks off the views of the bridge and the opposite bank. With time, this effect is accentuated because the project moves with the water and something new is to be seen litterally every second and with the pedestrian’s every move. Furthermore, the radial plan allows us to play with decelerating and accelerating perspectives, especially since the ground beneath the parapet is sloped. This has a very interesting effect on the structure since it causes the water to rise unevenly, and the structure to rise gradually on one side before the other, thus blending the movement into the surroundings.

Overflow/ Phase 4/ The carpet

As opposed to the rib structure, this carpet-like structure is less of a “safe bet” design-wise, structure-wise, and especially with the time we were given to produce the installation. The opening of the festival was to be on June 21st 2008. However production had to be finished on June 1st in order for us to pass our exams, and go to London for assembly between two of them. We started the semester in mid-Februray of that same year, the carpet-concept only came along in end of March, which didn’t leave us much time for decision-making and production. The ephemeral aspect of the pavilion, which was to be set up for a short while, ranging from a couple of days to a month (the entirety of the Festival) depending on our will, pushed us to opt for the more risky option of the carpet. It consisted of hollow expanded polystyrene boxes tied together by some kind of a hinge.

As the tide rises, the carpet would deform, invading the plaza like a wave overflowing from the river. The impressive scale of this intervention allowed us to play with the idea of perception: as the water rises,the porosity of the “wave” changes, and so does the visitor’s view of what is behind it - the city of London’s skyline. Furthermore, it allowed us to modulate light in this little plaza surrounded by elevated buildings. Structurally, we had to find a replacement for the hinge, because many of these details were turning this architectural intervention into a mechanical project. Therefore, we decided to search for a module allowing a change in curvature solely thanks to its geometry - saving us the trouble of installing hinges on all modules, and making this variable property inherent to the project.

Overflow/ Phase 5/ Structural detail/ The self supported structure The geometry of this module allows us to vary the curvature of our wave without having to change the element, therefore creating a module which can be repeated. This principle would have saved us a lot of time in production. However, structural complications such as weight distribution, statics, and friction of the material pushed us to radically modify the design after our presence on site.

Overflow/ Phase 5/ Structural detail/ 1:1 test in situ

It was our first presence on site. It allowed us to see which aspects were successful and which were not. We had, until then, worked solely with digital tools. Being on site helped us get a better image of scale, proportions, urban impact, etc. Many modifications on design and structure followed.

Overflow/ Phase 6/ Post in situ/ Study models

1:33 - Thin cardboard - weave model. Research on density and structural utility

1:33 - Cardboard and plastic mesh model. Density research, curvature study.

1:33 - Extruded polystyrene and adhesive tape model. Curvature, joints, and density study,

1:33 - Thick cardboard and thin thread model. Closest to the final design, curvature and behavioral study.

Overflow/ Phase 6/ Post in situ/ Study models

3.25 pm 4.23

5.21 6.19

7.17

8.15

9.13

10.16 pm

Saturday, July 5th, 2008. Predicted movement of the structure with tide.

We constructed many study models from different materials such as cardboard, plastic mesh, extruded polystyrene and thick paper. They all behaved differently but followed a same curvature and fatigue pattern. We learnt to use the imperfections in production and the material’s fatigue as the elements which will accentuate the desired curvature and movement of the structure instead of trying to overcome them. This decision was very useful and saved us a lot of time because we had to construct the pavilion ourselves.

Overflow/ Phase 6/ Post in situ/ Reworking design/ Site plan - a radial disposition of the web elements

Structure at low tide. Plan.

Structure at high tide. Plan.

Instead of giving the people yet another access to the Thames, we decided to bring the river onto the land by translating its movements into an installation. The plan is defined by the surrounding spotlight arrangements, urban planning, and seating area, as well as the weight distribution within the structure and its static soundness.

Structure at low tide. Section.

Structure at high tide. Section.

Overflow/ Phase 6/ Post in situ/ Screen properties revisited/ The installation has, in plan, two focal points from which rays diverge, separated by a constant angle, and cross paths in order to create the mesh we have here. These two focal points are determined by mathematical restrictions - keeping the angles from becoming too small, by production process considerations - keeping the pieces feasible manually, and finally by the dynaimic perception they entail and the way they implicate the passersby. There is a third, less perceptible radiality, which is done by making the ribs converge in section towards a same point, corresponding to the bridge here. This contributes to the screen-like effect we were looking for because it blocks off lateral vision and allows the visitor to focus on what is in front of him. Since most visitors will be walking past the installation, there is no one privileged point of view, but multiple options for multiple perceptions for a dynamic reinterpretation of the iconic background which is the Tower Bridge and the London skyline.

Unrolled surface in plan/1:66

10 m

View A 15 m

Radial ribs, view A/ 1:133

Overflow/ Phase 7/ Setbacks/ The lack of communication between the LFA and our team resulted in us losing the site we were given to build our installation on: the Tower Bridge Plaza, because the Tower Bridge was to be repainted at the same time. After many negociations, we were to have a site in front of the Tate modern, on the bank opposite Saint Pauls’ Cathedral. However, we were only given the written authorisation warrant the day of the festival opening, once we had already built our intervention on the ground, and were waiting to lift it onto the handrail. Although our design was very site specific, we were able to readapt the intervention to its new environment without having to modify design, mainly through precise positionning. On a more structural tone, the installation was designed to have 2/3 of its weight hanging over the parapet on the river side, to avoid any accidental tipping over of the structure. The elements were made of expanded polystyrene, which is a very economic, ecological and light material. Set aside its practical properties, EPS was chosen because of its conceptual coherence with the project: being set in a very eclectic context where everything is a certain height, shape, size, and color, we wanted the intervention to be of universal scale, something that could be seen from far as not fitting into its environment. Polystyrene allowed us to achieve this goal. The cross intersections in plan were constructed by shaping two U formed elements which interlock. These 2 elements have 2 holes going through them at their middle and at their bottom, in order to let ropes through. To maintain tension in the structure, we had to use climbing or sailing ropes which had less than 1% elongation over time, since the fatigue of the material was already important enough. This crucial tension was achieved by using sailing techniques, tying the ropes going through the ribs to a winch and trying to give as much tension as the human arm and a boat winch can give.

Proposal for the Tate Modern site This site was again to change on the day of the opening of the festival. Instead of building right beneath the millenium bridge, we decided to move further away in order to have more exposure to the public. Therefore, we moved some thirty meters away from the bridge onto a small placette which advances onto the thames. That way, we kept the theatrical aspect of the older site, while being more exposed. This last site would be the final site on which we assembled and installed. The structure was very well received there, because it turned out to be a regular place of meeting for young people, as well as a daily passage for the commuter, and a regular area for jogging and cycling. Gradually, the intervention became part of the scenery, integrating itself unwillingly into the then-ongoing Tate Modern exposition on street art. This site turned out to be better than the site for which the design was originally developed. Temporary space (1 to 2 days) needed for assembly prior to installation

Installed structure on parapet at high tide

Final location

Installed structure on parapet at low tide

Overflow/ Phase 8/ Production/ For us to construct this structure by ourselves, we had to adopt rigorous working methods. We used Rhinoceros to extract the dimensions we needed once the design was final and exported the information into excel sheets. Every element has 14 to 16 dimensions to be taken, and there are over 800 elements. This step of the production process took a lot of time, despite the fact that we were able to segregate the elements into distinct groups depending on their attributes. These measurements and grouping decisions helped us in the production chain by making it much more systematic, allowing us to save time and energy and to produce faster. Snapshot of the excel sheet used for production

A partner university of our Ecole Polytechnique Federale de Lausanne, the ECAL (Ecole Cantonale d’Arts de Lausanne), was kind enough to let us use their vast production labs. These empty rooms were the setting in which the design and production took place. Styrofoam companies also contributed by giving us a significant discount on all the material. Other building companies let us rent foam cutters for a reasonable price. And last but not least, our faculty and dean sponsored our production, trip, and installation.

K 27

M 28

M 26

9N

P 24 D 15

N9

N9

Identification of types of elements and patterns - type HV2 mentioned in above excel sheet

Layout of elements on polystyrene boards - material economy

The production itself took 10 days, with two groups of 6 students working 12 hour shifts, 24 hours a day. The goal was achieved, and we even had some extra pieces to spare. The next step would be assembly. The assembly took 2 days and we were able to test the structure on a soccer field, where we lifted half of it ourselves in order to see whether we would be able to perform on site. During production, there was a lot of communication problems between shifts, between the teaching team and the students, and between the London Festival of Architecture Committee and our studio. This resulted in a lot of last-minute work for the graphic design team - which I was part of. This team consisted of myself, and a colleague.

STEP 2

STEP 1

According to the type and position of the U element, the boxes’ edges are cut to certain angles in order to achieve the desired final radial disposition. A one-person job, done with a horizontal foam cutter with 2 adjustable angles.

Cutting the bounding box of the U element, according to the biggest dimensions we have depending on the element. This is done with one foam cutter, two people to handle the bulk foam boards (1m x 2m), and thanks to the layout done through rhino in order to have the least possible waste of material. Then, numbering the box with a felt-tip pen and sending it to the next step of the chain

Duration: approximately 1.5 minute STEP 5

Duration: approximately 2 minutes

Here, a custom-made 60 cm drill on a custom-made rail will drill the 2 holes in the U. There are 4 to 8 holes to be drilled in a cross, depending on the length of the U’s. A two-person job, this is also a very precise and demanding step of the chain. Duration: approximately 2 minutes

Our task as the graphic design team was to respond as fast as possible to any requests requiring computer generated images, as well as photography and design, and being able to manage with our production shift. These tasks were mainly 2 editions of our “booklet” (final edition attached to this file), photography, renderings, a sponsoring proposal and the boards for the London Festival of Architecture.

STEP 3 STEP 4 This step is where the box becomes a U. Thanks to the precise annotations done at step 3, the two angles on the machine are set by one person as the other prepares the element to be cut. A two-person job, it’s a very delicate and precise step which is critical for the stability of the whole structure.

Using the excel sheets which provide angle, type, and measurements, the U element which, at this stage is still a box, is sent here to be labeled and for the annotations to be drawn. A one-man job, this step is important in order to save time in the next step, and to allow STEP 4 to move faster without having to look at the excel sheets.

Duration: approximately 3 minutes

Duration: approximately 2 minutes

STEP 6 This step is mostly about verification: do the pieces correspond in size and direction? Are they too loose? Have there been any mistakes in the chain process? Here, the pieces are interlocked and laid out according to the final design. If a piece is missing or faulty, it is immediately added to a list of pieces to re-do. A very important step, it allows us to ensure that no pieces are forgotten, and that no mistakes go unseen. Duration: 1 to 2 minutes for a cross, 15 to 20 minutes for overall inspection.

Final steps were to be made upon assembly. After the final step of the chain which consists of inserting the tubes in the holes, the pieces are laid out where the structure is supposed to be lifted. It is important to study this step well. The structure weighs around 1 ton and moving it after having assembled it is a very demanding task. Therefore, it was important to be accurate when choosing the direction in which to start the assembly. The pieces are placed according to the design, and we start running the ropes through them. When all the ropes have travelled in both directions, we start introducing tension using the winch. This small but efficient tool is often used on boats. It is far from being the only sailing element we have used:

STEP 7 The last, simplest yet most demanding step: tubing. In every hole, a PVC tube of a certain diameter and length has to be inserted depending on the position and size of the element. This is important because it protects the holes from being worn out by the rope going through the structure. Duration: 1 minute per cross.

a lot of knots were necessary to link ropes together, to block tension, and to lift and stabilize the structure in the end. Once the tension is in the ropes, a piece of forex is placed on the tips of the rope to distribute the tension around the hole in the polystyrene, because it would otherwise sink in. And then, a tension blocker is introduced after the forex, and finally a sailing 8-knot is done, so that the rope doesn’t slip through the blocker. Introducing

the tension in the ropes is a very demanding step because the person doing so has to be quite physically strong in order to introduce the necessary tension. It is actually a 3 personjob, especially at night. As one person holds the winch, another turns the lever, introducing tension. During that time, a third person, using a pair of pliers, stops the tension and places the blockers. During night-time, the person holding the winch is also responsible for lighting.

Overflow/ Phase 9/ Details For the first test, the structure was assembled rib by rib. This meant going through the pieces with the ropes in one direction first, and then in the other. However, this technique had its flaws because once the structure was assembled in one direction, it was very hard to adjust it in the other because of the great deal of tension in the elements. Imprecisions were then amplified and it became harder to control the way the structure would bend and move. However, during the final assembly on site, we decided to introduce tension in a different manner. First, in the three main ribs of a direction, and then in the three main ribs of the other, thus creating a fixed precise cross from which we would introduce tension, starting with the inner part of the structure and going outwards. This way, the main ribs which held the most compression and efforts were the solid foundation onto which we added the other ribs.

The winch used to introduce tension, and the tension blocker.

Another detail to be solved was the part on which the structure was to be set on the parapet. This joint was a very critical area because of the material’s relative fragility, as well as the amount of strain it is under, which reaches the maximum at this point. Our first tests, although partial, revealed a crack in the structure, between the elements, at the joint with the parapet. We tried to solve it by introducing more tension into the ropes, however, this only lead to a much more rigid structure without solving our problem. After testing different methods, we decided to divide the moment onto many elements instead of just two, thus dividing the space between them. The simplest and most efficient way we found of doing this was to strap thin but resilient plywood on each side of the structure. This solution was very satisfactory because it created a smoother curve and reduced any risks of tearing the rope at the joint.

Partial test - material fatigue and sheer moment

The way the structure was to be attached to the handrail was also of utmost importance. We went through a big variety of details, from metallic hinges, to hydraulic pressure activated rails, but the more we thought about it, the more complicated the detail became. It was important for the joint to allow a movement of the structure without too much friction, otherwise the material would very quickly deteriorate. At the same time, the movement was to be visible enough to allow a change in perception. Finally, after many tests, we went once again with the low-tech option, keeping within the mind-frame of this installation. It was very easy to become too mechanical, which we didn’t want. The final solution was to attach straps around the elements which happen to be on the parapet. Since they are already covered by plywood from both sides to reduce tension, the straps wouldn’t deteriorate the material. Instead, they would simply rest on the wood and attach the structure to the curved handrail. The shape of the handrail was also very helpful, had it not been curved, we would have had to redesign another joint. The weight of the structure being this important - approximately 1 ton - we designed many strapping points in order to divide the weight along the handrail and not concentrate it in one area. This also gave more stability to the structure. Twelve strapping points separated by a meter each lay along the handrail, which was equivalent approximately to the weight of 12 children sitting on the handrail.

Overflow/ Phase 10/ 1:1 test/

1:1 Test Lausanne

Overflow/ Phase 11/ Final assembly: London Tate Modern/

Packing the elements at the ECAL lab for transportation

Assembling the structure before installation

Unloading the packages in London, preparing for assembly

Ropes - classification and preparation for transport

Loading the truck

A passerby’s view during high tide

A passerby’s view during low tide

View from the Millenium Bridge during high tide

View from the Millenium Bridge during low tide

View of the Tate Modern Tower from underneath the structure. View of Saint Paul’s Cathedral through a square in the screen Changing views due to movement of the structure with the waves

“Changing views, altering perceptions of what is considered as iconic”

View of the opposite bank through the structure at intermediate tide

“The materialization of the evolving screen property”

Views of the opposite bank through the structure at low tide in two different positions

“Overflow walkthrough” The tension introduced through the winch into the ropes allowed us to control the curvature of the structure despite the high fatigue factor of the material: Expanded polystyrene. Although this material is very resistant to uniform compression, the weight of the structure was so great that the fatigue highly influenced the aspect of “Overflow” on a daily basis. This was planned so that, by the end of the festival, the structure would have reached the end of its life. The ephemeral aspect of the intervention was an inherent part of the design and choice of material. “Overflow” at high tide

“Overflow” at descending tide

Overflow/ Phase 12/ Reward Overall prize awarded to OVERFLOW and the EPFL/ALICE team

Best Signpost awarded to OVERFLOW and the EPFL/ALICE team

Out of 5 total awards, we, the Swiss EPFL/ ALICE team, won 2 prizes for the OVERFLOW installation in front of the Tate Modern, next to the Millenium Bridge.

CNC Workshop/ Instructions

ALICE – Digital design and fabrication workshop February 14 &15, 2008

Russell Loveridge Daniel Pokora

- l apa - AL ICE

This workshop has been prepared to support thecoming semester work of designing and building an “urban intervention” for the London Biennale. Within this work session we have three fundamental goals: 1. I I

2. 3.

I

II

Learn by doing – work with digital design and CNC fabrication machines to make a FAST, SIMPLE, but COMPLEX construction.

The overall purpose for this two day workshop isto give the participants experience with these technologies, and some of a pavilion or urban intervention at the 1:1 scale. II

S chedule: Thursday: I ntr oduc tion a nd Des ign 10: 00 - Studio - Introduction, discussion, a bit of rhino, and introduction of the project task. 14: 00 - Milling lab - Demonstration of CNC machine, review of the connection between CAD and CAM, details about the project tasks.

E vening – We will break for diner together, then return to the studio

II

I

I

I

P r epar ation: - All students should come to the studio with a laptopcomputer loaded with Rhino. If yyou ou d do on not ot h have a a computer of your own, see if you can borrow one for the two day workshop – in thiss w way we work ay w e ccan an aallll w ork together in one location. - We will be working on physical constructions, please dress appropriately (clothes that can get dirty). ng et d ir e tthat h yyou ou d on ot w ear aany n - We will be working with powertools, machines and large pieces. It is highly advisable do not wear jewellery, expensive watches, and other personal items that can be damaged. Students hair, please nts with llong o h air, p lease bring something to tie it up.

hu See yyou at 10:00 o allll TThursday

CNC Seminar/ The sitscape

Friday: F a br ic a tion a nd C ons tr uc tion II I 0 9: 00 base, discussion of overall concepts I I 1 4: 00 II I 1 6: 00

CNC Workshop/ Brainstorming and initial design The object to be fabricated was born after a brainstorming session. We needed to think of something resembling a folly, something which didn’t need to have a function other than to please the eye. Out of practicality, we opted for something we could use, so that the material wouldn’t go to waste. Smoking areas, expression walls, shelters and seats were all considered before we decided to combine many functions into one, thus creating the sitscape. The sitscape is a difform landscape which is born of the merging of different surfaces and lines. At the first glance, it resembles nothing. However, man has learnt to use what is around him in order to fulfill his needs. If one looks closely enough at the sitscape, it is possible to see different areas: a bench, a lounge, a table, seats, backrests, and whatever you allow your mind to imagine. This object was meant to be displayed in front of the architecture building, and used by whoever passed by it. After rationalizing and adapting the design to the quantity of material we had at our disposition, we remodelled it again to fit structural and assembly requirements. It would be made of transversal boards of thick OSB, linked together by cable wire or string, some of the cheapest materials available. We were divided into two groups to design the sitscape, each working from a same section, developing it from one side and the other. The two designs were then merged into what was finally decided upon as the final design. All was ready to be CNCed, but unfortunately, our mandatory classes and projects didn’t allow us to go through with the production of our design.

CNC Workshop/ Final design Counter/ bar

Lounge/ seating area

Freeform landscape/ Lounging area

Tabletop

Bench

Final rationalized design of the sitscape - perspective

Continuous rod

Oriented strand board Section of the sitscape base

Study themes: Lake Geneva and its ressources - Transportation on Lake Geneva. Study by BASBOUSS Monica, HELD Lila, KROTOFF Aurelie.

I - A brief history of public transportation in Switzerland A few facts - In 1823, Switzerland’s first steamboat, the Guillaume Tell makes its first appearance on Lake Geneva. - In 1873, the CGN (Compagnie Generale de Navigation) is born of the fusion of 3 sailing companies. - Gradually, steamboats and sailing will become as important as trains and the railways. - The CGN’s territory, Lake Geneva, is an infrastructure which costs 0 francs (to navigate and use) and no workforce (to construct), as opposed to the railways.

II - Sailing on Lake Geneva - the beginnings Sailing was most popular on Lake Geneva during the “Belle Epoque”, corresponding to the times before World War I, where the french bourgeoisie came as tourists or immigrants and owned many boats. From World War I onto World War II, the turmoil had a big impact on sales of steamboats, and on sailing activities in general on Lake Geneva. Sarting 1943, sailing was abandoned as a leisure activity and became more of a public service.

“Le Leman des Ingenieurs”: a study on Lake Geneva/

Following many technical innovations such as the crémaillère (rack), on January 1st 1902, the first train being part of the Federal Railroads enters Bern’s train station. This event marked the beginning of the railroads as part of public transportation. The Swiss railroad, all companies considered, covers around 20 300 km. It’s the most dense of all european railroads. However, trains remain a means of transportation which require a costly and researched infrastructure which very much depends on the preexisting environment.

III - A parallel social and demographic evolution After the sedentarization of the majority of the European population, nowadays we can easily observe the reapparition of a frequent mobility pattern. However, when we adapt these observations to the current context, we are faced with the concept of commuting.

in Switzerland, mainly in the area of the city of Lausanne.

Commuting is different from nomadism in the sense that it concerns people having to take one or more means of transportation between their home and their work place.

The 2002 agreement between France and Switzerland allows free movement of people and the right to undergo independent activities. Consequently, there has been an increase of 18% in the number of commuters between March 2001 and March 2006. Today, the CGN accounts for1.3 million passengers a year, most of which belong to estival tourism.

In our case, we take the example of commuters living in Evian and working

As a fact, 700 commuters are regular users of the Evian-Ouchy (Lausanne) line.

A map of Lake Geneva showing the most used CGN lines and the company’s landing jetties.

IV - Transportation on Lake Geneva : Why? What has been driving commuters to choose an alternative means of transportation to cross the Swiss-French border?

The price of fuel has also been increasing.

The road traffic across the Swiss-French border has been increasing at a very high speed since a few years, mainly because of the 2002 agreement.

20 000 persons cross the border daily for business reasions, 88.1% of which use private means of transportation.

60% of the trips are for business.

V - Transportation on Lake Geneva : The CGN’s mission The CGN is the only public transportation company which uses Lake Geneva as a means of transportation. Private boats exist, however the CGN has a higher priority while sailing the Lake and has lower fares. It is thus more popular than other smaller sailing companies around Lake Geneva. The CGN states its mission to us during our interview: - To perpetuate the transportation of the passengers - To encourage the alternative transportation which is sailing in response to the difficulties arising in road circulation.

- To reply to the demand of the French living by the border and working in Switzerland. To be competitive with the road, it was necessary to acquire new and fast boats, which is why the CGN orders the NAVIBUS. These boats allow crossing the Lake at the height of Evian - Ouchy (Lausanne) in 17 minutes, which is twice as fast as the older boats. The NAVIBUS are reserved essentially to the commuters’ public transportation, with a capacity of 120 persons, and a sailing speed of 50 km/h. Current ecological studies show that

using these boats are far more energy efficient than cars in respect to the distance they have to travel and the speed they are limited to.

The CGN has started to transform this means of transportation into the new subway system where taking a boat becomes as simple as taking the tube or the bus. In order to achieve this kind of simplicity, the number of landing jetties is being increased, as well as the number of boats and the number of times they pass at a certain landing point.

Furthermore, people can now subscribe to a certain offer which facilitates the use of the boats to cross the Lake.

However, there are still quite a few modifications to be made in order to make boats as practical to use as the subway.

In this effort, changes are being applied to the coast, where we see the landscape, infrastructure, and architecture undergo many modifications.

V - Transportation on Lake Geneva : impact on architecture Setting up additional shuttles on the coastline implies that the infrastructures receiving these boats, the installation of the harbors as well as the parking lots welcoming the cars of the passengers should meet this increase in the flow of arrivals.

Furthermore, parking lots are also limited in size, and one can’t find 24-hour services like one would in a train or subway station. These simple and yet very useful services could be at the root of what is discouraging people from using boats to cross the Lake.

When we compare a train station to a jetty, we notice that several services are again at a very primitive stage. For example, tickets and sales are still managed by a reduced personnel.

The CGN is not without plans for the future. However, they depend a great deal on sponsorships, loans and grants from the differents Swiss districts.

VI - Transportation on Lake Geneva : limitations The study conducted by MIS-trend, given to us by the CGN director, M.Soret, informs us that: - The schedules of departure of the boats are the main reason for which of commuters refuse to travel by boat, with an importance of 65% - Next comes the accessibility to the work place from the jetty (How many other means of transportation are to be used once the person arrives to the jetty) with 56%.

This delay in development can be explained by different factors: - The technical developments in the naval field (influencing schedules and number of trips per day) - The financing of a project under development is necessary for its progress but is also very hard to achieve. - The absence of a direct competitor has as a consequence a diminished incentive to progress.

- The price as well as the ecological consequences on fishing and the coast are issues on which the travelers are dissatisfied.

- Considering transportation on Lake Geneva as a complementary means of transportation and not as an independent entity.

- Paradoxically, the comfort on the boat comes in last with 4%. Nevertheless, Mr. Soret assures us that practically, the comfort on the boat plays a big role.

This means of transportation is well behind when compared to the railway system, buses, subways, etc. This delay in development can be explained by different factors:

This means of transportation is well behind when compared to the railway system, buses, subways, etc.

- The technical developments in the naval field (influencing schedules and number of trips per day)

“Most commuters choose to take the boat to go to work because of the safety versus speed factor”

- The financing of a project under development is necessary for its progress but is also very hard to achieve. - The absence of a direct competitor has as a consequence a diminished incentive to progress. - Considering transportation on Lake Geneva as a complementary means of transportation and not as an independent entity. This means of transportation is well behind when compared to the railway system, buses, subways, etc. This delay in development can be explained by different factors: - The technical developments in the naval field (influencing schedules and number of trips per day) - The financing of a project under development is necessary for its progress but is also very hard to achieve.

- The absence of a direct competitor has as a consequence a diminished incentive to progress. - Considering transportation on Lake Geneva as a complementary means of transportation and not as an independent entity. However, there are also reasons for which a loyal segment of passengers is growing. Most commuters choose to take the boat to go to work because of the safety versus speed factor. Gradually, a group of accustomed commuters is beginning to form. This group consists of the same people who take the first and last boat to and from work. After a very interesing discussion with the CGN secretary, Mrs. Guillot, who is also a commuter from Evian, we learnt that this small group of around fifty commuters have grown to know each other through their commuting trips on board the CGN boats. Could this be the birth of a new social phenomenon?

In order to better understand the information we were given, we decided to take a trip on the last boat going from Lausanne (Ouchy) to Evian, along with the commuters. As you can see, most people are working, are in uniform, and, as expected, 1% are tourists.

Photography/

Art/

First year assignment - study and axonometric view of decomposed object, freehand, pencil

First year assignment - geometry, shade, and projection studies (combination with our descriptive geomtery course, freehand, pencil/ white chalk.

First year assignment - texture, recomposition of images and reinterpretation study, based on the work of Piranese, freehand, pencil.

Second year assignment - texture, framing and shadow study, freehand, pencil.

Second year assignment - texture, framing and shadow study, image reconstruction. Inspired from the movie The Hustler. Freehand, pencil.