Author Archives: Antoine Vaxelaire

Go 4th Years!!!!!!!

The Cats are with you! From beginning to end…

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Resor Machine / Youth Power

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Short Term Problematic

Now assembling the A1 book, an updating + adding images/drawings.

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Big Data

I’ve been reading the new Big Data book, here are some facts/quotes from it:

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00h12m00s

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The Fear of the Blank Carpet…

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The Garden is a Carpet where the Entire World seeks Symbolic Perfection

Some of the new colours…

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Intro WIP

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Tablet Mold

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Cat-Astrophic

When LOLcats meet Luther King…

 

 

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Geological Carpets

Learning about Germany’s Geology, found some amazing maps, there are so beautiful.

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Model WIP

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Model On Its Way

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Model

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The Power of Grounds

More here:

http://www.yossimilo.com/artists/myou_ho_lee/?show=0&img_num=12#title

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Nolli got Panned! Rome got levelled!

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Ground Spectrum

Textual Grounds:

Naive Grounds:

Actual Grounds:

Geological Grounds:

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A Few Other Spreads

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Final Spread

Daim Cats…

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Book WIP

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Hotel Rooms

Each inhabitant of the machine has his room, some here…

R. Somol

R. Koolhaas

J. Cage

A. Vaxelaire (you can make fun…)

ps: Inside Joke in door numbers…

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Why John Cage is a Genius?

Because I can simply replace the word “Silence” in his text with “Ground/White” and it becomes my project:

“What we re-quire is Ground; but what Ground requires is that I go on Building.”

Hyper Black will soon come, and eventually save the Grounds…

He is also a Genius because he said this: “I am trying to check my habits of seeing, to counter them for the sake of greater freshness. I am trying to be unfamiliar with what I’m doing.”

Lets be Anti-Intuitive!!!

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Biggest Pool in the World

Fun.

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Early Morning Fun…

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Vive TS!

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Dyson meets Rem…

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Viscosity Spread

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Vive Dyson!!!

In addition to the covers I have an ad (that I make) for each, Dyson is a great base! Thanks for the ref George!

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End?

If I take a straight line from Dusseldorf I end up in Lausanne, which is a funny coincidence… closing the education loop! Here a quick collage.

Although I like the idea of ending in Switzerland (my project not my life), I think I won’t and stop it in the Jura (mountains) or in Belgium’s countryside.

Not very important for now anyway!

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Viscosity Tests

This is very dull but will do for a spread… I just wanted to take a break from drawing.

Viscosity test based on cement/water ratio. I’m looking for a concrete that will settle before it touches the ground.

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Recycling in Germany

This is the recycling circuit in Germany, I am now working on my version.

 

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Distorted Section 1/16 (WIP)

I’ve cut a section from Oberhausen to Dusseldorf to see the ground level variations. As in (almost flat) landscape drawing I have to use different scale horizontally and vertically in order to see the peaks and valley. Here is a moment using X=1 for Y=16.

Will now work on specific moments and resolve how the machine adapts/cuts/ignores/floats/digs/etc!!!

 

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Building the Model

Here are some pictures of the WIP model, this is the segment with the basements being filled with concrete.

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Costs: Construction VS Maintenance

This is the average costs of both production and maintenance of buildings. The stripping follows the same pattern, and I will propose an alternative component repartition to reduce costs.

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Corner Two (WIP)

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Angry Crowd!!!

People are waiting in the Lobby (plan) for Rem’s speech about the City and how we should deal with it…

Plan of Lobby (160mx160m)

Corner of Lobby.

Portion of Plan

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Thick City on its way

Working on the Machine as a City, building the layers of activity, divided between:

-The Atlas of Dusseldorf (catalogue of materials)

-The Digesting Process (machines for concrete production)

-The inhabitation (the city within the machine)

Clear drawings to come.

 

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Can they save our cities?

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Oooooooops…

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TS is fun! Yes yes it is…

Here are some of my very dry TS information, looks boring but actually interesting!

Understanding what is Cement:

Aggregates Size Measurements:

Heat of Hydration Problematic:

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Larger Scale

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The Act: (WIP) Images

My Friends:

My Heros:

In Oberhausen:

Detail in Dusseldorf:

 

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Hungry Hungry!

More to come.

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Ok Ok more like this maybe…

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Factory… really?

Here’s the factory in its current state, I’m not even trying to explain…

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Biggest Excavator in the World!!!!

AMAZING!!!!!

The Bagger 293!

And it’s German made.

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The Perfect City Eater = Mies + Rem

Taking a break from TS….

Quick Conceptual Collage of Architectural City Eaters, the Thick Roof  (Mies) + the Icon (Rem).

I am working on a set of drawings (lines) of my own (cube+marble+thick roof+circle+slowmotion) city eater.

 

 

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TS StoryBoard Updated

Now let’s make them into real Pages…

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Amazing Crawler-Transporter

 

This is the engine that has been moving spacecrafts from the VAB to the launch pad.

It mesures 40x35m, weigths 3000 tonnes and moves at a speed of 1.5km/hour.

And its 40 years old, soon to be replaced.

 

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TS Concept

TS principle, in diagrammatic form.

 

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Let’s go and eat Dusseldorf!

Machine + City

The first step of the “Building the White” process consists in radically eating the existing fabric of the city, in this case Dusseldorf.

We dramatically consume the city, leaving nothing behind but the needed infrastructure, it is a bold and opportunistic action, aiming at nothing else but the death of the Figure/Ground debate.

The collected material will be transported to “Die Fabrik”, a enormous City Eater that will soon vomit a new ground (which might become a new city form?).

As much as Nolli flattened Rome, Corbusier erased Paris or Koolhaas peeled La Defense, the White Revolution consumes endlessly in order to re-manufacture a new ground, one liberated from the supremacy of the City and its Poche Land.

The White Revolution is one led by Tractors (not computers), one deeply enmeshed in context (not contextualism) and one (as any revolution should be) extremely optimistic.

(now working on drawings)

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16.000.000 m3 of Concrete!!!

This is the largest concrete pour ever achieved, it’s for the biggest dam in the world, in China. The construction pictures are amazing.

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Ground Formation

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Death of the Figure: proof by the Absurd?

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Plans + Feedbacks

These are the three moments I presented at the jury. From City to Countryside.

Feedback:

-Plans don’t work, and white on white also fails to do the job.

-Can’t argue against Figure/Ground and still use them in the representation, need to define the “ground” of the city in other terms/technique. Remove any academic assumption of Figure/Ground.

-No plans—> AXO!

-Define the impossibility of the white drawing it, knowing it will fail.

-The Panneur needs to be much more precise: How does he look? What are his filters (if any)? Be much more accurate when arguing the relevance of the Panneur today.

-Knowing VS to know: define the understanding of knowledge for the Panneur, how can he be detached and yet take knowledge of —> back to Warburg and Didi-Huberman

= Atlas!

-Cy Twombly, look for the positioning of the viewer in relation to the white drawing. How does our position changes our perception?

-Don’t forget what Didi said: “To take knowledge of, is to take position on”.

-Why the Factory? Transformation? Need to be able to argue for it.

 

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The Panneurs’ Board of Directors on its way…

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White on White (very WIP)

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TS References (WIP)

Anthony Gormley’s fog room. Building the White.

Geotextile Grounds.

Wright’s Block House.

OMA’s re-use of the Essen Factory.

Christo & Jeanne Claude, Over the River.

Christo & Jeanne Claude, Wrapped Coast.

Bini Shells. Pneumatic Formwork.

Fabric Formwork.

Toyo Ito Crematorium.

Concrete Grounds.

Siza, Portugese Pavilion.

 

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Introduction Text

The Art of Panning.

I/ PREAMBULE

II/ INTRODUCTION

. Figure .

As much as the 19th century Arcade created the Flaneur and  the 20th century high-rise introduced the Gazeur, the digital age we live in today sees the emergence of yet another man, we shall refer to him as the Panneur.

 

. The Endless Debate .

The Panneur has stop to sort out the world and now scans through it, meaning that he has lost the capacity to digest information and therefore contiguously gathers it rather than continuously understanding it.

This phenomenon finds a direct impact in today’s architectural discourse, where the canonical debate on Figure and Ground can no longer be sustained. Black and White have become irrelevant to the Panneur’s eyes, for he evolves in a society completely filtered from private/public debates, cleaned from solid/void discussions and removed from past/present/future sequence. The Panneur, floating over the Atlas of the world, has an urge to built what Nolli forgot, what Piranesi omitted, what LeCorbusier destroyed and what Koolhaas failed to rescue: the White.

 

. Impossible Whiteness .

Once immersed into that apparent blankness, the Panneur faces the sad but promising fact that white is impossible to achieve, as much as a theoretical concept than as physical presence, white is a phantasm that architects have endlessly sustain while rejecting the mindsets embodied in it. The Panneur has reach a point where he cannot understand the possible meaning of the white. For him, white is only a colour, nothing else. It does not mean unbuilt but undrawn, it does not represent public spaces but personal potentials, and it is certainly not opposed to black, as black shares the same obsolescence as white does.

 

III/ PRESENTATION

.Platform .

The 21st century marks the beginning of what could be called “third level of globalization”, one that is ruled by the individuals rather than by countries or companies, one where figurative buildings are replaced by figures themselves, human figures. The Panneur represents the paradigm of this new figure, he is the new black sitting within the grounded white and therefore he endlessly scans over the Monochrome Flatform of his mind.

 

.The Route .

It is Panning that we leave the city centre of Dusseldorf in order to reach the promise land of the countryside, a journey along which the Panneur constructs the Fabrik of his mind, a building as long as the trip itself and as enmeshed as his perception of the world his.

 

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Panning

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Monochrome Flatform

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Three Moments of the Route

City Centre.

Edge.

Forest.

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Hello Presentation…

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Keep going Antoine…

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Enter the Past

Great Panning + amazing movie = I’m excited!

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Durand + Office Swimming

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Durand Durand

Drawing the amazing square plans by Jean-Nicolas-Louis Durand

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Plate 01, WIP

Here’s is a preview of the plan I’m working on…

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StoryBoard of the Atlas

I am working on a storyboard of the argument + composition of the Atlas.

Above is a sketch of how I want to construct the field/atlas (maybe as a video…).

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Tripartite Frame

I’m working on my argument, writing an updated version, and trying to be clear on this idea of the frame that doesn’t want to be a frame (or something like that).

Here is this idea of the frame applied to the precedents I’m using:

Characters + Images + Field (or Becher + Typologies + Plan).

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Pre-Prelude

The Panneur from antoine vaxelaire on Vimeo.

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Atlas, WIP.

Here’s the plan discussed today in tutorial.

Aside from all the problems and things to change/replace/update, I think the main issue is to precisely define the theoretical framework and the physical frames of the plan (to come friday…).

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Didi Huberman, my new hero.

“To gain knowledge of, is to take position on.” Didi Huberman.

(It’s a french saying, translation doesn’t really work…)

But anyway, Didi Huberman is a french historian, expert on Aby Warburg, Images and the notion of Atlas. He is a strong defender of the notion of “Table”, in opposition to “Tableau”, which means to put the Tableau (the result) in a secondary position, in favour of exposed “Tables”, as a space of operation, a “mise en oeuvre” of the body of work, like the “table de montage” in cinema.

He only speaks on Images but whenever I read or listen to him it has so much potential for architecture, both theoretically and practically.

ps: I’m slightly over-excited I think, but will draw plans based on my understanding of Huberman’s thinking, which I have probably not understood…

Below is a painting he has used extensively to explain his theory, and another beautiful saying…

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ReCon

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Dip9’s Saturday in School

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Plan Puzzle

Frames and (thick) plan on their way.

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Plans Forever – WIP

Still drawing the plans of the singular pieces, here Smithson’s floating island in NYC.

I’m also working on the drawing where they all come together, will have a version for tmr.

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Possible Presentation

Here’s a possible way to present the work… (to be updated)

Side ONE:

 

Side TWO: Back of frames re-arranged.

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R. Smithson was a great architect!

I have been drawing the plans of Smithson’s Nonsite serie, and it’s quite impressive the different “feeling” it has. Not only I find it very enjoyable but it also transforms Smithson’s work in a sort of abstracted “Becher world”.

And in addition it’s mainly squares and circles, which makes me very happy…!

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Details… or not.

Here are some zooms in the plan. I think I’m getting lost in useless drawings, it seems the principles I have set up are fine (or acceptable), but the main problem is what to draw and how…?

Trying to finish a segment so we can discuss tmr.

 

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Plan Composition

This is the new diagrammatic composition of the plan. (Actual plan to come later).

I have been re-working on the plan composition. It is now based on the actual site in Oberhausen, Germany. Therefore rather than inventing a new landscape it is a matter of defining a specific use of the land, in such a way that it suits the purpose of Angus Vander.

Angus Vander has developed a plan expressing his understanding of 4 major issues: the story (trip), the land (smithson), the object (becher) and the History (links).

If these four elements are shaping the limits of Angus’s understanding of the past he now needs to organise, manipulate, clean and edit the different elements. That is his way of dealing with the Factory, that is his Quarry of the Mind.

In addition to the plan Vander wrote a letter… (coming soon).

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WIP Plan + Argument

 

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To Draw the Mind

After an attempt to be more precise about my story/argument I will now translate the thinking process into a plan.

The plan, as the space for another reality, will become Angus Vander’s piece of work.

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Mnemosyne, or the Planilogy of the Interval

 

 

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Hello Angus!

In December 1968 Robert Smithson, Bernd Becher & Konrad Fischer went on a day trip to one of Germany’s biggest factory. That day Smithson started his famous non-site serie and the Becher photographed their most iconic objects.

But what the story doesn’t say is that there was someone else with them that special day, Angus Vander…

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