Author Archives: Anny Stephanou


I have started today an animation for the conclusion. I thought making one single conclusion drawing would be like making the singular object. So instead I am moving things here and there to bring up the relations between the drawing worlds.


Huge thank you to Maridia for painting the amphibious! Also with Miruna we did an animation for setting the scene – from Prouve’s factory to gallery to green screen. It incorporates the 1:1 – I basically go with an AA chair to Seguin’s gallery to open a 1:1 paper door into a green screen factory.

Most importantly this was an intuitive weekend. Still need to put the gallery dwg in it frame as well as the 1:1 guys which I will use for the intro. And I would like to work more on text tonight.


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I need to print tomorrow


Amphibious foundations WIP ^

PLAN OF ACTION to quote Cate:

1. need to start sending to printers tomorrow – it will be the kind of printing they do at oxford so they need 2 days and I want to collect on Monday the latest. I did test prints and I am a bit too excited the paper is 300 gsm. I’m very sad I don’t have time to go over in tutorial on friday that’s why I am overloading the blog

2. white book tomorrow or friday but before tutorial – they also need 2 working days – got some full bleed images in and the size is relevant to the drawings

2.5 assemble the frame

3. weekend last drawing – still havent sketched it :( + re-work film + presentation (on screen) + text

4. monday, tuesday, picking up things, more presentation + text + reherse

I WANT to have on the table – my 8 drawings : gallery, foundations, 5 contexts, final drawing and book, as my thesis and my project. anything else goes on the screen if part of the pres, but I am planning to speak a lot about the contexts. I am eliminating green screen stuff from the pres and will plan to bring that up in the conversation, because I want to take that risk of presenting the core of the 9 months.

any commeeeent? :) I have never taken so many decisions in one week.

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Full drawing day

edit: seeing them all in a row and adding more character makes me realize there’s not a lot of geographical site involved actually. TEXT is sooo important for these. weekend… also the last foundation dwg I am using in the thesis part.

I will be adding here updates as I go. I am adding more detail. Comments would be very much appreciated thank you!!



bit better: will add the masteplan dwg too. I’m building a gradient from center to out. inner houses are supposed to look inhbited.




edit2: (billboard/ masterplan dwg)



would like to laser cut left: so its paper, ground, autocad




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updates: (I think I like it just as a line drawing actually if the background of the house was white. I shall see)


Onto colouring finally! Thanks to Cat for naming the circus. I’ve also been:

– adding more detail to the previous drawings

– working on a three part book, to be used in the discussion not in presentation. Probably will reformat a couple of spreads to use in the pres

– sent the re-worked frame to be laser cut on plywood. Once I get it tomorrow and make sure it works well I’ll send 3/4 more

I need to sketch out the final drawing that is a synthesis of context/ foundations to discuss tomorrow. It is EXTREMELY important BECAUSE in thinking of the project overall – with the act of taking the single architecture and contextualizing it in a number of places, I am creating a sence of de-centralization (wip word. it’s not disassembly and not fragmentation hm..) Initially in this act the common denominator is the house, which then becomes the very act of attachment. SO the final drawing as the synthesis of this multiplicity, needs to be able to argue that, through the de-centralization, I create my own ‘fragments’, my own context, before I create my architecture, the second common denominator, the foundations. Essentially the act of contextualization happens once with placing the house here and there, and there is second act which is the collecting of those. Really trying to make sense in writing this thought. Will keep trying.

I have also realized that my list making skills are not ambitious, but unrealistic. So been trying to finish things (which I think is my brussel sprouts) so I can progress with pushing the project.

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List making

1. circus drawing wip – houses on wheels carrying a circus crossing autoroute 25 in Montreal (tonight)


this is the background, plan at the top to section below. should be more clear once I add the foreground


2. amphibious foundations still in rhino. trying to make it more dramatic with underwater views (tomorrow)

3. frame for gallery drawing is designed and will test cut (tomorrow), and will make one for the 1:1 drawing guys

4. working on making the drawings fat (weekend)

5. still to add more detail in the previous drawings but I’ve sketched out what I need to do (tonight)

7. still no book – but I think it will be a tape bound A2 portrait for beginning of presentation and hardbound anti-thesis between A4/ A3 size (weekend)

8. still no update on film (next week)

9. on the other hand of countdown time land I am enjoying that the thesis is developing in parallel with my drawings. I am sketching out ideas on how to create links between them – ie landsat 8 taking images of earth, used in master plan drawing, moon to appear in amphibious foundations + + +. this is like a meta thing because I don’t want the drawings to appear as a list but more like a world in themselves. it would also be nice if I could have booklet or maps or whatever medium is ideal to support each drawing. I am bombarded with ideas during internal conversations. but trying to plan realistically. let’s see…

10. need to address cultural/ historical/ social + + +  foundations more

11. I feel like there’s something I’m missing. trying to plan what is the last drawing I finish with. perhaps I am missing a conclusion? a concluding drawing? hmm…

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I wanted to make a frame for this drawing that is complete when the drawing is the gallery but breaks when it is the green screen factory. Mostly for the aspect of breaking. In the same spirit the image below for the film but I am not very sure yet. Because I think the project/presentation is fragmented and the unit space adds to that I think. However I am not sure about the narrative of the paper door in the gallery. I will re-think that. In the mean time I am re-drawing the amphibious foundations as I don’t like that drawing and then moving on to cultural context/ foundations. Which will be the circus for the moment.

Sequence 04

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Countdown thoughts


– need to give presence to the drawings – make them thicker and define what is the means of attachment in each one

– format the first 2 parts of the presentation to be closed within themselves – books?

– decide on sites other than geographical – cultural, historical, + + and how each of these can be drawn

– I think I am contradicting myself when I remove the house from the gallery frame and give it foundations – which essentially are a frame to a building. this is why I like the amphibious foundations because they are both permanent and temporary in relation to water. and in the moon the form of attachment is between the interior and the air; the ground is secondary.

– working on storyboard

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Quick update

Own1 Moon


There’s more but this is for the blog for the moment (update later if I have time). I’ve been thinking what I want to do after : BOOK using the thesis – antithesis – synthesis business. A frame for a drawing that I’ve been designing, more drawings!!

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A few things in progress.

Finished lunar house:


Drawing of just foundations (central area to be photoshop render):


This is extremely wip about cultural context. I was thinking that the context of the endless house is the mobius strip because it is what inspired it, and the maison tropicale was inspired by automobile industry of 1930. Would this make sense? And I am thinking spatially what the drawing could be. No gallery space should be involved.


Better foundations for the amphibious business (need to make into dwg):



Part 1: Introduction of Prouve’s insular factory and objectifying context

Part2: Film and breaking the walls of the factory

Part 3: Term 2 work to be contradicted with

Part 4: Identity shifting of the house

(usually I prefer three parts but le’t see tomorrow)



Finishing drawings for the rest of the day/ night.

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If my factory is the context machine, and context is a means to attach something to place, then Antoine’s point of focusing on the design of the foundations made so much sense to me! Suddenly there’s so much more clarity in my mind!

So below is the drawing of the house constructing its own context. The billboard is the masterplanning. The first two rows of houses will be realistic the next will be like a footprint in the ground and the next will be floorplan drawings. Although we spoke about the element of believability in the last tutorial in terms of hyperealistic images, I would argue that a construction drawing would do the same. So I need to declare the construction drawing and really make it beautiful in the project.


It is the negative of the house inside the shell that protects from the lunar atmosphere. Where the section is cut is where there will be drawing of pipes and things.


Anyhow I am working with much more intention and clarity.


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As I am working on drawings I’ve been thinking that what I have in the project is a thesis, and a meta(?)-thesis running in parallel. One is about the act of contextualising and the other is the medium of the drawing. Quote by Sam Jacob: Architectural representation and its reality happen at the same TIME and this starts with the drawing.



Super helpful today with Manolis getting an overview of the project making it less fragmented. I will bring our discussion tomorrow  along with the drawings and I’ve been sketching out the next ones.




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I will just post my workspace at the moment – desperately trying to finish the drawings from the last tutorial and sketching ideas for new ones.

still to start – house making own context, exploded axo


As I am working I am realizing that the drawings at the moment are not that different with the concept of one of the models I did last term – shifting planes to create associations and different spaces.

Anyhow there’s a looooot to do. !

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More to come



I have been working on 5 drawings. There’s more I want to show tomorrow so I’m counting on the night to bring more information to the drawings. I will update more when the others make more sense.

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So far


I will stop working on this for the moment to sketch out the next three.




I’ve redesigned one house to be earthquake resistant (hello TS), and I am focusing until tomorrow on a long drawing that simultaneously sites it in Nepal and in an alternate constructed world. I am aware that I need to do 30181 more so that it’s never about the one house but the act of collision. It took a while because in the beginning I thought to make it all a construction drawing but then I wanted some 3D other than perspective. The last tutorial really really really cleared the clouds in my head. I will post an update as soon as it looks like something presentable. No more things that float in rhino space.

YAY to Wasash, can I call you Queen Minion? and Naranja!!!!!!

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01. creating context and locality where there is not – on the left I am drawing a billboard, some kind of advertisement



02. following our discussion about framing and permanence, here the house is supposed to be on foundations rather than a podium, need to make it more legible




03. I wanted to bring the 1:1 drawing back so…


I am missing myself in the project. Too much Prouve. Anyway I will finish these three and print for tomorrow!

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Addressing one comment at a time

Quote from a previous post: “If last year one question was what’s outside the frame, this year is what’s behind the frame, as in how/ where is it made (inhabited realm).”


I want to have two versions of this drawing; the one I am working on now is like the making-of of the drawing. I wanted to add shadows coming from behind the viewpoint kind of like Charles talking about projection and shadow (or I was definitely floating). I am doing this for bringing fragments of the project together.

In the mean time trying to define a set of constraints for being an aggressive contaminator, keeping in mind that the photoshop stage will locate the contaminated house both in a grounded place as well as the drawing itself, questioning what is more real (or more fictional)/(finally some parallel contextualization).

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Post jury

The paradoxes:

– By pursuing everything but the creation of the monumental, the demountable house persists much more than buildings that are grounded.

– In designing a universal architecture that can be placed anywhere, it is exactly for this reason placed nowhere.

Like the green screen, prefab architecture constructs a locality where there isn’t one by creating its own context.

which is more real, the green or what’s outside; How to place the universal object;

– define a way to draw

– pull the fragments together; thesis

– must contaminate house with place – the turtle 1 reference even if a car is something more attached to place than a building with foundations – so I must decide on constraints

– sheet folding to paper folding

Breaking the green screen drawing – must work on this way of drawing, not clear,


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Hello term 3!

The fundamental question we finished last term with was how this ‘factory’ contaminates whatever is inside it. I think of the factory to be the middle space in the very early box model – it is the space that is left untouched by what’s outside it – it is Prouve’s workshop, a gallery space, and a green screen room. The project seeks to disrupt the condition of introversion.

Below was the starting point, quite abstract, but led me to the drawing I am working on today which has been in progress of being repeatedly redrawn in the break… Here what is addressed is the shell to be less of a container and more of a contaminator.


In these drawings there is a visible (?) horizon line at eye height. I have been trying ways to draw. I need today’s drawing to explain better what I am trying to do, will update later. I have been using drawing as a way to think through the development of the project. Also can I say I am super excited for the multiverse seminar.


James Turrell, 06/21/2013 - 09/25/2013, SRGM New YorkOnion-Skin-tests-mires-low-res

This is a drawing to start the presentation with, still needs shadows to show depth.


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Forever wipping (updated)


I really wanted to draw with colour but didn’t want to be in illustrator too much. So I used the quality of the light projected through the library wall and did render tests. The jungle painting is during sunset so I thought they relate. I did a test print and I know what information is missing to make it more dense. I am now drawing a plan with multiple perspectives and will revisit this tonight. The text is slow but it’s progressing. The plan is to finish text, plan, this, and organize the presentation today so that I can go back to unfolded drawing 2 tomorrow after tutorial.



Now back to presentation…


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For previews (updated dwg II)

I am drawing the project with the medium of the unfolded drawings. I have started three of them,

site to context


01 (initial stage)

02  (final stage)

drawing to construction



(update – it is taking me longer than expected – above is the folded state and below unfolded)

inhabited to objective view 

(will update)

I realized that they work in the same way as the ancient non-box and I am enjoying making the drawings work like that. I will continue to work on them tomorrow plus the presentation and bringing together previous work for the tutorial.

Fri/ Sat/ Sun I would like to spend time on film. I am trying to decide the next move which I thought can involve the eidograph. In the second drawing I am implementing the eidograph to be specific to the project in terms of its dimensions and two functions. I will to show what I mean.

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The first choreographed drawing



House in gallery





House in factory (to be drawn on the right) – unfold 1



Half house with painting background (left) and painting in gallery (middle) – unfold 2

Missing the technical part of this drawing. As well as a sequence involving the process of drawing or designing the house. I need to finish some spreads and then I’ll get back to this. I think this way of drawing could be like a storyboard for film.

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I am a bit brain dead so I might do all the text tomorrow morning so can I be around lunch time tomorrow please ? Thank you! Good luck to people binding tomorrow.

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Moving on

I paused working on spreads to make drawings to explain the project for the beginning of the book. I think now that I’ve done this warehouse version I would like to go back to the non-box eventually and figure out how it could work so that one entire world (green room/ airplane etc) could be exploded into 482028 other spaces so that there’s always one common thing between two worlds that is able to shift scale and context (ie green room 4m radius curved door to airplane door)… I would also like for the Prouve house to be completely destroyed so it’s not a single reference point. If last year one question was what’s outside the frame, this year is what’s behind the frame, as in how is it made (inhabited realm). I think I need to define my worlds – for example if we could more between imagination and reality a device would be potentially shadows in a drawing which imply that there is sun in reality but flat coloured drawings would be in the imagined realm.

Below screen shot will be replaced with the multiple perspective plan I will do tonight – need to make something beautiful and complete.


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Wipping still…edited



Aim is to move out of rhino and into 3 folded drawings as soon as I figure this out. The warehouse is too big I think for now so I will scale it down to 50 x 50 m. I am writing at the same time but I will post that in spreads. On tuesday I will spend the day photographing the models and annotating them so they’re as complete as possible. As I am building the factory I am thinking of translations from drawing to construction (scale up), from construction to site (visual using green screen), from site to drawing (as a less linear transposition and for scale down).

Setting up the views to explain the sequence in the folded drawing:


Left view : room to decide the site


Right view : site through the green room


Staircase that is a threshold – trying to explain in drawing how it involves two pathways that do not meet


Plan – still some things I need to do

The spreads are in progress …

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Scaled up

I have moved away from the scale of a room to this 100 x 150 m space. I think I am basically designing something in between a theatre and a film set. I am incorporating ideas that I had in previous versions of the model like on the top right for example the void between the books and library would create an imprint on a wall with light for example which if it were a view out of a window would look like a city scape. In the center of the green room the semi circle – top left – is the camera movement which would create images like the Vienna reference I like and the three fold drawings we talked about last time. Proscenium wall to be added. I also added a staircase like in the Boros because it merges two opposing pathways. I want to think how to add the eidograph too because it’s all about the process of drawing which creates the scaled up reaction at the same time. And I am trying to design the frame work which would allow the required movements. Also in one TS tutorial I’ve been given the idea that perhaps energy is created when one floor plate is released to fall because of its own weight. For TS I need to look into a lot of dynamic architecture references to apply them accordingly.

New key word: transpose


Another reference…

IMG_1303 IMG_1314


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Moving on

The project is about a constant oscillation between two scales – the one being constructed and the one being inhabited.


The two worlds gradually merge into one. For their co-existence there needs to be an intermediate threshold which isolates parts of either in an opposing manner.

The ‘masking’ happens on two levels – in terms of a moving image (film) and in terms of the process of constant re-configuration.

Masking Process

Parallel contexts to parallel motion:

We use devices in order to move between the two worlds. This is sometimes the green screen to create the film as an output, and sometimes a mechanism to create a process. Both incorporate the aspect of time.


As we move between the world of construction and the world of inhabitation we also constantly move between flatness and depth.

In terms of the Berlin-Basel experiment, the flat fabric that I use is what creates depth in the film/ image where as the three dimensional stairs become flattened.

Key words: Dichotomy, Inter-action, Masking, Process, Co-ordinate, Equilibrium

For tomorrow I am working towards a model, a drawing, TS contents page, and TS spreads to explain everything visually.

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I am working towards integrating whatever has been discussed in the many tutorials I’ve had during the past days. I will review this page tomorrow night for better descriptions. I’ve restructured the book based on this TS overview. New spreads are also happening.

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Super WIP

snapSide 1

snap1Side 1

snap2Side 2

What I am trying to do here is 1. to treat the planes as spaces like the library wall or staircase 2. to see what I can move through the middle so it all depends on where things attach meaning that the table in side 1 is attached to the floor so when it moves it takes only part of the table to the other side and pushes part of the second in-between later with it.

I have decided in the interim to have the model with a camera and tripod set up attached to the screen so the ‘making-of’ is live. Amin yesterday said that maybe the quality of the green screen is that I can take it with me (because he likes the berlin-basel experiment). Also Nacho said that perhaps I am trying with this ‘device’ to perform green screen effects but more physical.


About a play called Proscenium by Lundahl & Seitl (which is that wall that frames the stage in theatre):

“We have been interested in the theatre as a building where different worlds come into existence; in time, each world will stop and another world will be opened up. What are the traces left of these presences?  Similar to the museum, the theatre preserves historical works. The difference; the theatre’s medium is time and actions embodied in the constant present – meaning that when the plays are not activated do these worlds exist as possibility within a text similar to a musical score waiting to be played?”


I would like at some point to make a spread with things that oscillate, though maybe after interim to avoid confusion.

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What is the output?

… the device or the film? Both!

Some intro text:

The project is situated in between a factory of products and a factory of identity and culture. It exists within the process of creating the architectural project; a process that oscillates.

The factory is a device which lets us move between worlds by constantly recreating contexts through associations. It exists in flatness and in depth.

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Collecting references


Pulley system in theatre for curtains. But for later on.



Cassette tape! I honestly see a relation…

Film – Brazil. Amazing!


Allan Wexler Will listen to this.

And the beautiful geological maps of the moon as a side note!

I think this reference comes from a previous discussion where we talked about the relation of site in a building proposal and it actually remaining unbuilt. And this was thinking of the student project but I need to develop my thoughts on this I know… So the same way that a hypothetically sited project is fictional, it being grounded on the moon is similarly fictional. I am not even sure if I should laugh…

Also I found this which maybe Miruna you might be interested in?

It reminds me of Sabrina’s reference

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Killing the box


Some progress…. Too many ideas and LOADS to do.


Vienna Opera Backstage, Austria

Vienna State Opera

I would love to draw like the first photograph later on. I think it is amazing!!!! It’s like you’re standing in the middle of the vandalized context device. I am imagining a film that the camera is going back and forth (180 degrees) and the spaces are being combined bit by bit.

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Can you hear me now?

1 2 3 4 5 6

WIPPING with the non-box, early thoughts so I might be floating a bit but because the green screen is context-less and can take us anywhere I was thinking of this external mechanism which carries the many possible sites. In terms of the moving image of the film I thought of the carousel slide projector for example.



Sketching! I was thinking that the non-box can operate not only as a line in pushing and pulling but also as a cross. Maybe the second page can explain this. Also the two middle vertical planes which enclose the green screen are like masking in photoshop so they could be porous. I am wondering which is the background, the site or the workshop, which would also identify the foreground. I am thinking of this in terms of theater, the backstage and the audience.

IMG_2697 IMG_2698


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Untitled-1 Untitled-2Following Eleanor’s advice, the second spread has the transparent strips on either side as a break whenever I use a reference since they will be spread out in the book. So many things I want to do before tomorrow!!!!!


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Version 2.0

IMG_2585 IMG_2589

Will now relate this to the plan/ perspectives/ elevation I showed last time so it becomes less abstract.


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drawers became a bit too interesting:

Some TS..




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1. I’m building the second version(s) of the model –  to be more abstract by removing unit space and adding the green room. Essentially the three surfaces make up a corner of a space so the size of the model should not be at a readable scale, meaning that a corner is 1:1.

2. Whatever is applied to the green should be real. So that the tension happens between the reality (inhabited realm) and the construction (drawing), rather than myself inside a drawing or computer model… not very sure.

3. The ingredients for the project are: the workspace, the green room, and the context(s) to be applied onto the green, whatever gets built in the workspace and used in the green room. So here is where 2101830 decisions need to be made to design something to build, to inhabit etc. Essentially where the devices and what we spoke about in a previous tutorial of a drawer, a window, a trampoline etc would go, meaning what context(s) would go on the green.

4. I have an idea which I think can combine everything I am interested in including TS. It’s a sequel and improvement of ‘the vision’.

So multitasking forward! Will post again later…

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The author (to become operator and inhabitant) as a threshold. Because he exists in both realms? Hmm… I tried to make the dwg I posted earlier work like this to collapse bird’s eye and worm’s eye but it doesn’t because the unit space is not cubical (I think).


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Made a drawing as I didn’t like the model much and no time to remake it but I’ll get back to it later to save it. Explanation:

Inhabitable (above) – Constructed (below),

The context – contextless,

Bird’s eye – worm’s eye because the contextless has no ground.

Now I think I should make another drawing to precede this one… Essentially the two realms converge to the point that I am slightly confused. But I made a project sketch diagram just for helping myself and I think it makes sense.


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A model is being born…

IMG_2412 IMG_2414

I really I wish I could make it again with different materials though :( (sorry the blog seems to rotate the photos). I have to say the jury deadline is forcing me to take decisions which is good. The project WILL oscillate between the inhabited world and the constructed one. In the past I had named my project the factory of parallel contexts, as if two worlds are combined and illogical scenarios are being invented. A friend of mine gave me as a reference one documentary about the human brain and the few cells which create a membrane to form a distinction between the dreaming world and the awake world. Yes definitely my project has little to do with dreams BUT this is super interesting in the case of the single brain containing these two worlds. In the case of the project the green screen is the membrane. I will try my very best to make sense on friday. I NEED to do the vision! I will do text tomorrow so I don’t know if I will have time to blog it for advice… Silly of me on monday to say I don’t know what I want to do.

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What I have been working towards!


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On to 3D

Decided to continue in 3D. At the moment this is like a sequence where parts rotate. It reminds me a bit of the assembly videos of the demountable houses. I know it’s super basic in terms of modelling, just trying to go on with the idea of a factory operated by one person, eventually could evolve into the time taken from this to that, the number of people etc. I like the idea of it being constructed so we are looking at the making-of and not the outcome. Still the roles of author, operator, inhabitant are almost the same. And if this develops in a film it would still be shown in perspective I think… Opinions super welcome!


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So far

At the moment I am drawing scenarios of operating these:


“fiction devices”.

Trying to work on one question at a time so now it’s about the operation/ transformation. For defining the factory I am thinking that the identity is that of the operator/ inhabitant. Mon Oncle would be a good reference for this. I will develop these into detailed line drawings/ construction drawings(?) so I get more into the proper design of the devices.


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Things in process

My aim this term is to be consistent from tute to tute to allow for the development of the project as a way for me to improve my way of working from last term.

Therefore, I am working on the thesis outline which you asked me to do and I will present the project under the subject of SITE, shifting from paper to green room.

I started a storyboard for the film which I am animating now the beginning. The very important point from the last tute is to use the green room to construct the project as well as inhabit it. So I realize that I missed this step from THE VISION. This has been really helpful and I would like to continue working like that, as in sketch and do so that I can be more productive.



TS book some new and small developments I will have a new print. I have started a TS storyboard too but it needs to progress.

Designing staircases. Is it a problem that I am designing staircases, drawers, fireplaces etc for a space that I don’t know its use? I am a bit scared of the staircase and the perspective I have to say but let’s discuss it tomorrow. I am wondering about the idea of using 1:1 to construct the project in film, it’s quite non-linear. The designs will end up in a catalogue of fiction devices.

Essentially my way of thinking is to design the project, perhaps even to design the methodology and the way of work and hoping this is NOT counterproductive.

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Things that float in rhino

I started building in infinite space what we discussed last tutorial. My first reaction to this is to develop something that looks more interesting. I am trying to think how I can define the factory in this project that I imagine…


This is a section I am working on, both to communicate TS and the project. Also in terms of TS I am focusing on finishing the pages I’ve started.






It might seem confusing but I am trying to get everything out of my brain so that the developments happen faster! The pipes (huge – will change) I was thinking that it can be the path that the camera follows to film. In the last image the important thing to see is the three steps on the right which is what would be made at 1 to 1 to film (there will be a problem with this with the perspective).

Tomorrow I will discuss the content of the jury presentation. List making times have started!

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For future reference

The architecture student is both the author and operator of his or her own project.

Similarly, Jean Prouve undertook the role of the designer, constructor and in some cases inhabitant of his own work.

If in its most crude or banal description, architecture is the construction of thresholds, this project will look into (the thresholds of making a flattening of isolation of spaces or part thereof into the fiction). The threshold may essentially be the author. (will rewrite)


  1. Construct the factory spaces at 1 to infinity, digitally
  2. Film (only the camera moves) with 1 point perspective
  3. Build parts of the factory (ie staircase) at 1 to 1
  4. Remove it from context by painting it green
  5. Remove it from site by filming in the green room
  6. The author inhabits (by operating ie opening door, using stairs)

Technical Studies will be a section through the film, eventually developing into something more than how the fiction of the project is constructed in different realms and scales.

This means that the 1 to 1 constructions will be used repeatedly in the film in different parts of the drawing. If Prouve fabricated his work without a defining geographical site for it to be located, similarly the ‘after-site’ of the 1 to 1 parts in this project is in the drawing of the factory.

Aesthetically the factory spaces should look crafted like a 3D drawing and will be designed based on the output of the project, the film, in perspective section.

The two year thesis comes from the way in which the project could not exist without the presence of the author (student) to deliver the forth realm (voice) and create the seams between them.

Let’s Oscillate will be the project title because in this project we will move between the realm of the fiction of the architecture project being constructed and the extraction of parts of this world in the realm that the author inhabits for him or her to be able to in turn inhabit the fiction. I speak about fiction not in the sense of narrative but about the crafting of the architectural project.

Thanks for the supertute!!!

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Below is the TS book at the moment. Javier advised me not to rush and decide the TS beforehand but to let the project evolve for a week or two before I see him again. In the mean time I will start seeing other tutors but I do need to become more specific for the conversation to be constructive.



Following Sabrina’s reference I really wanted to draw the moments of using the green screen in the unit trip in this way. I will be working on that until the tutorial tomorrow and see how this can inform the project. I’m enjoying using colour again :) Also I remembered in the start of the year when I was thinking of the various places of assembly of the ‘flat-pack’ industry and I think this is how I can start going in the factory from isolating places and working with that. I feel like this is step I had to make…


At the same time I’m working on my text. Part of the introduction:

The factory of context exists in the intersection between the construct of a fiction that is the architectural project, and the inhabited realm. This space is the green room where this film is staged. The technique of ‘masking’ conceals parts from both worlds to create the fiction of this architectural project.

And in terms of the film the Grand Budapest Hotel is a fantastic reference:

Have a look at how the stairs are used!

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Hello Term Two!

I used the unit brief to start writing the project thesis realizing that I hadn’t really thought about the concept of identity in the first term. This text seems more conceptual than descriptive of the project as I’ve tried to write without looking into previous texts so that I don’t repeat myself and look more into the potential.



For TS I have been spending time researching which I will discuss tomorrow over diagrams etc, aiming to finish the day with an updated TS contents page based on the tutorial.

Something from the trip:


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For tomorrow

I have been debating in which way to draw for tomorrow, and I decided in elevation. It will allow me to move from elevation to perspective which is the film and later on I could ‘fold’ the elevation into a plan model. Also it is the most ‘inhabitable’ orthographic view at least for me. After our seminar yesterday I realized that the banned black frame from the last tute is just a representation of a wall. I think that so far I’ve been trying too much to control the project (even though it doesn’t seem like it) and this doesn’t allow for the project to grow on its own. So I need to let go a bit so that I can work more. I suppose I need to kill the four realms of extraneousness (2013-14) … or paint them green!


My question for tomorrow is, if we accept that this is a filmic project, other than what do I film next etc, the important question for me is what role does drawing take?

Sabrina style: Yesterday has been a good day.

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Thank you for a super tutorial! Notes since I didn’t record:

For Friday I will move sideways to this drawing in which I wanted to show the scales that for example the door undergoes from being 1:100 in the book in the library which is where I take the construction information from, to 1:1 in the green room to 1:screen in the soft room. I want to do one thing and do it well. Maybe I will try a drawing that combines plan and elevation because axo is a bit familiar to me.

I will incorporate the main content (and not frame) of today’s banned drawings like the library shelf, the computer screen on which I draw in and so on.

I would like to make the intention of DRAW THE FACTORY much more specific to help myself a bit. Perhaps by starting to form the sequence of steps that need to be taken to go from unit space to Prouve house, which involve going from library to green room which in turn involve the building of stairs! (not literally, this is in the case of the project world).

SO I think this factory operates on a literal level in which case products are used elsewhere in what we call the ‘after-site’, AND it operates on a fictional level in which products are used in the scaleless and contextless green space for an alternative function.

QUESTION: (to myself) what is the product?! for now my products have been one 1:1 paper door and one 1:10 axial portal frame. what is the next one?

NEED to move beyond paper space as I think it is not the appropriate medium and tool for this project. The answer is FILM! Because in this way I can talk about the scale of time.

For now… a construction drawing of the film. WORK FASTER!

Please add below if I forgot something.

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Speaking about time…

1920 minutes of tutorial conversations into 30 minutes of conversation at final tables…

Same way that a movie takes months to film and a couple of hours to watch. So time – not only drawings – work in scale.


Below is to show the same overall proportions of just the green room in three scales:

sc1 sc2 sc3



I will update later the development of the factory.

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A few concepts that we’ve discussed so far:

Factory is the process.

Factory is in the green room.

Factory is in the paper.

Factory of foundations.

Factory of context.

Factory of fictions.

I wanted to draw the factory in plan but also in 3D so I’ve decided to work with this method. The green room in terms of size, follows the proportions of any A landscape paper size because I thought that the contextlessness exists as much in paper as it exists in the green room. I wanted a process to draw so I became a bit self-referential and I am focusing for now on what makes my fiction, or the film, which starts from a book shelf in the library, to re-drawing construction drawings, to printing and so on. The entrance to the green room is through the center of the room so that the process that leads to that is within spaces one level below and all four walls are part of the greenness. Also instead of rooms like library room, printing room etc I thought of putting these functions in a peripheral corridor like space. I keep thinking that the process is linear and then the analogy to that is a corridor. Hmm…


After I progress with this I want to put my thoughts or words in order and associate them with images so I can take a step back and see where I want to propel towards!

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TS, take one


First attempt to define the TS. It’s also helped me think of how to structure the project/ white book.

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Rule 11: Draw the factory

01 02

I am drawing Duchamp’s door for TS. Thought it was appropriate to draw it in 2 pt perspective. I thought this reference will help me think of the spaces as adjacent but not necessarily aligned. Need to figure out a specific interest for TS…


What I am trying to do is to dissect the film since the conversation always goes back to that in my tutorials because I really want to understand, declare and define what my factory is.


In the spirit of not having Prouve in the spotlight the spaces I am referring to in the sketches below are quite neutral.

I now think that the project oscillates between the place of construction (backstage) and the place of fiction (stage) through a contextless and contentless space (to be more clear this is the green room in the case of the film).

photo 1 photo 2 photo 3 photo 4

My aim is to draw the bottom, left sketch.

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Not sure yet if this relates to my project but I thought the text is really interesting.

“France is considering a ban on stereoscopic viewing equipment—i.e. 3D films and game environments—for children, due to “the possible [negative] effect of 3D viewing on the developing visual system.”

What’s interesting about this for me—and what simultaneously inspires a skeptical reaction to the supposed risks involved—is that we are already surrounded by immersive and complexly 3-dimensional spatial environments, built landscapes often complicated by radically diverse and confusing focal lengths. We just call it architecture.

It’s fascinating to think that, due to the potential neurological effects of the built environment, whole styles of architecture might have to be reserved for older visitors, like an X-rated film. You’re not old enough yet, the guard says patronizingly, worried that certain aspects of the building will literally blow your mind.”

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I am experimenting with ways to draw the adjacent spaces. I think that a perspective section might be better so I am testing it for tomorrow; where the threshold will be myself drawing the door.

If the house is held by a crane momentarily, when it reaches the ground we can move to another space, Prouve’s my workshop? I am wondering what am I creating with this? a narrative along a sequence of spaces? And why are we jumping from space to space? Is the drawing of the door the in-between space that creates the connection?

A note:

foundations, doors, windows are means to attach, to the ground or to context

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Let’s oscillate


The project oscillates between two worlds; the one inhabited and the one being constructed.


The factory of ___.

A factory is the place of production.

More than the space, it is the process by which production takes place. This can be collapsed within one singular space, or exploded within different ones.

The product is that of a demountable house. It is in a constant state of transit as its location is undefined during the process of its fabrication that is the after-site. (rewrite)

The architect is also a builder, involved equally in the act of drawing as well as the act of building.

His identity is tied to the place and act of fabrication; he felt that he died when his workshop was closed down.

The workshop was nomadic, much like the demountable houses. So, his identity was more tied to the act of fabrication rather than the place of fabrication.

More than the object of the house, he designed the act of assembly – disassembly – reassembly which was site-less.

Much like the houses lacked context, paper is also contextless. It is part of the process so it is used as a means of communication. It is operated within multiple contexts to create its parallel fiction. (rewrite)


Table of contents arranged in relation to recon jury:


Table of contents arranged in relation to themes:

(will update asap as I’m figuring it out)


Questions I need to keep referring to:

What am I constructing?

How do I define the factory?

What is my objective?

(What did I do in the recon?)

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Two worlds.. towards..

shot shot2

I will move on now from the book to the two drawings of the foundations of the two worlds, dip9 and Prouve house.

I will use this photograph as a reference for the Prouve house:

ml_jeanprouve_La Maison des Jours Meilleurs_02

I want at some point to translate my scattered notes from yesterdays tutorial into a text!

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Putting things together


My intention is to make a drawing as a way to link parts of the recon, mainly through scales. I completely agree with the concept of using drawing as a process rather than a representation. I hope this is not counter-productive though since I don’t have it figured out as an outcome yet, I’m building in 3D and then I will decide which way to two dimensionalise and make a drawing.

A few tutorials ago Manolis gave the idea to draw in 2 to 1 not only 1 to 1, so I incorporated part of this in the drawing as a response to the architect constructing in paper in miniature.

Reading the unit brief again, my favourite part is “The expectation is not that you make a buildable world. Rather, the thing you build will be your identity.” I chose Prouve because of the construction drawings and the clarity within this linear way of working making me question whether I can insert something less predictable within. For this reason I am quite attached to the outcome of his process be it a house or chair. I think though that more than the product of houses and furniture, Prouve was designing an event; that of the assembly-reassembly-disassembly; much more than the event of inhabitation.

I want with the project to be aware of the scale of our inhabitation while constructing through the medium of drawing. I think here is where my interest in the photograph with workers drawing the plane comes in.

As I have a tendency to leave things unfinished I need to progress with this ‘drawing’ so that it can become useful for me.

Main question I need to answer: what am I constructing?

I like this drawing by Will Insley because to me it seems that the spaces he is drawing are actually within the thickness of the paper.


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Contentless billboards for Anouk

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Jury thoughts and actions

The main questions which were raised: what is your objective, what is your intention, where is the factory in your project, how do you define it, what do you produce and where do you produce it.

As a concept the contextlessness or placelessness is important; in the scale of Prouve’s designs whether houses or furniture and in the scale of the drawing and paper.

The discussion developed into the factory being on or within the paper itself, in the moment before it becomes or transforms into what it depicts, the object. Paper is the space of production. I thought this was extremely literal in the paper folding part of the presentation. I think this is very linear and has more limitations than possibilities as a technique to carry forward, because what ever is drawn in the two dimensions simply folds into its three dimensional form. But I might be wrong. The concept of the almost blank paper containing the factory within it intrigues me and I’m wondering how this can go forward.

The project so far includes the author and the operator of the paper; this is in reference to the user of Prouve’s designs being involved in the assembly process of which the place is in turn determined by the context of the nomadic object itself.

The technique of the film was questioned; I am intrigued with the idea of talking about drawing and paper but in the context of a moving drawing or image. I think that as a way of working this can develop the conversation into the spatiality and depth of the paper even if the physicality of paper is within the film. Too absurd? Talking about scale, the film’s scale depends on where it is displayed in the sense that frames identify scale, whether paper or screen or projector.

Ways forward: the transformation of the paper should be more powerful, projecting onto paper, consider the film as a means of production not only representation.

References: Enzo Marri, Wikihouse, Format lectures, Rui Feruki (?), Fontana cut, Duchamp’s Etant donnes.

Two things I am starting: drawing to put together the re-con (even though I think it was unresolved and not at a stage where it should be to feel complete) and drawing of the doublesidedness of the film (might be jumping ahead with this) and so that I don’t float away I should really address the brief to declare a position on the factory and become more precise.

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I took another video yesterday which is better than the previous one but not as good as I hoped. Waiting for the export to see what it looks like, fingers crossed!



I’m working on the 1:1 drawing so that there will be views out of the window. There will be a few, to speak about the nomadic character of the house and drawing (so no more flipping over since this is done in the film anyway.) Contexts will be Brazzaville in Congo, the roof of the Lingotto building, outside the Tate and Gagosian gallery. I think I will print these 4 layers one on top of each other and remove them as I speak.



Still 38023701 things to do!

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Flimsy paper door




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Multitasking is the way to go (?)

In the spirit of ‘more is more’ I’ve been multitasking between things of which none is yet finished…

1. 2/3 min long animation which is made up of two perspective drawings and a video of myself


I’ve fixed the view and the Prouve collection but need to finish painting it.


Paper – Film and Space flip!


This will be wireframe with hidden lines – arguing about the ‘rootless’.


The door is HUGE!

2. Some paper folding. I’ve actually spent the whole of tuesday and half of wednesday trying to build this axial portal frame from Prouve’s construction drawings so that I could make it into a paper folding drawing – so I’m going to make a sequence of drawings to show the development from Prouve’s constructions to this paper folding. I’ve realized it takes ages (at least for me…) to convert to paper folding laser cut files but I would still like to make the chair, hopefully in the weekend.


This will also be part of the animation – there will be a mixing of scales in the Prouve house kind of like the photo below.


3. 1:1 Door flat layered drawing – from Prouve door elevation, to Prouve house in perspective once the door is ‘opened’. But I also want to draw on the other side of each layer, so that it is a different door to a different space, either unit space or soft room. I think that I cannot talk about 1:1 unless I have a drawing there in the room and with the ‘re-use’ of this door both in the animation and in the jury space I will speak about the nomadic drawing. But at the moment is 99.8% white so I will fill it up with construction details, measurements etc.

shot5 shot6


4. Thesisising


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Gonna get greener tomorrow

Tomorrow I will film the green world! The end result will be a film (in between perspective and elevation drawings as the setting, animating drawings and a video of myself for the 1:1 scale reference). The drawings below show the four (paper) acts that I have at the moment. I will introduce references such as the projection on the wall of the ‘xray’ drawing of the house I’m looking or the laptop screen looking at a vimeo of an assembly process of the house.


Act I – concealment – video of me putting up paper over the existing door01_Page_2

Act II – drawing – animate drawing of the door as I draw it on the paper01_Page_3

Act III – cut/ score – the paper01_Page_4

Act IIII – fold – to ‘open the door’

After this I haven’t yet thought what will happen… Somehow we need to enter this house:



Is it making sense?! Text to come tomorrow…

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Back to 1 to 1





Super quick image just to show the idea…

I’ve decided to also draw one of Prouve’s houses so that I can inhabit it myself through the drawing.

I will write some text for tomorrow too.


Here are some references:




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Drawing as process

I am trying to find the balance between working intuitively to allow for the process of creating the project but also to know what it is I want to question and what the outcome will be in two weeks.

Since we are going back to the conversation on the operative/ 1:1/ construction drawing, (rather than the biography which is analytical), I made an attempt at the drawing below which I had in mind for a while now but didn’t really know its aim. My main question is how am I re-contextualising/ re-inventing Prouve with this. It will be like a gif file, meant to be read in overlays. Kilometers away from what I’m imagining…


I am trying to break away from the whole and look more into parts, keeping in mind that even a part of a whole furniture or house is a whole in itself. I think my interest lies in the moment a drawing/ a piece of furniture/ a house etc is assembled. This is extremely literal in the case of the furniture and house since it is components that are put together. By inserting elements in motion (the pencil, the laser cutter) I want to look into this state before completion, even if this is about a drawing. So perhaps this is not about components being put together but it is about the relationships between dynamic elements (processes?). It’s still really abstract…

Following the concept of looking for the house that’s been lost, I am now wondering whether I need to start with Prouve in my presentation or whether I can end with it – I have this animation in my mind of a constantly moving line of which the context (paper drawing, paper model etc) is changing…


Notes from the last tutorial that I need to work on:

Blank paper with engraved ‘instructions’ on how to construct parts what it refers to;

Plaster/ concrete cast to ‘ground’ the paper

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It’s like a cross between a pagoda and a Greek temple

At the moment I see the re-con in three parts:

1. Biography/ Autobiography of one of the three Maison Tropicales

2. A drawing ? I want to insert myself in the re-assembly process. At the moment I am thinking to combine the three Maison Ts, need to start drawing to see what I want to do

3. Inspired by Maridia’s tute and ‘Instructions on how to climb a staircase’ I want to write instructions / manual on how to sit on a Prouve chair, how to use a Prouve table etc

In other words… need to MAKE MAKE MAKE!

shot2 shot

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It was a bit like taking the building to the dentist

Alain Baneel says he found the restoration process fascinating. “It was a bit like taking the building to the dentist; we cut bits out and repaired the remains with new materials.”

“There is the added value that it can be taken and set up anywhere. It comes with its passport and is ready to go.” – Philippe Garner


“Build for eternity and objects might become relics from the past. Build for one generation and they might last for several generations”. – JP

I had the idea of writing a biography or something like that for the Maison Tropicale, which would also pertain to all the pre-fab houses he designed. I’m not sure whether that would take me anywhere though. I think the argument would lie in its in habitation and nomadic character…

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Operative drawing


Click to see…

I feel like I’ve done the most simple thing… But it refers to my previous post of the full scale construction drawings. If for Prouve there was no difference between constructing a piece of furniture or a house, is it possible that the way we draw can inform the way we build? (Is this a productive question?!)

In this case the drawing attempts to give instructions for the assembly because of the objects’ arrangement in the drawing. I suppose in real terms it becomes the instructions for the CNC machine for example so the drawing is at full scale in relation to the outcome. Here is the original drawing of this table:



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1:1 construction drawings


On JP and drawing: “He sketched constantly,” recalls his daughter. “But these drawings were mere tools of the production and not art pieces that were preserved, signed or dated, but crumpled and thrown into the basket once the message was conveyed.”

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Another link

Video footage which conveys the assembly process of Jean Prouvé’s Maison Metropole on the roof of Turin’s Lingotto building in Via Nizza during the ”A Passion For Jean Prouvé” exhibition at the Pinacoteca Giovanni e Marella in Turin, Italy.

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Demountable – Removable – Remountable

ConceptAtlas-01 ConceptAtlas-02 ConceptAtlas-03 ConceptAtlas-04 ConceptAtlas-05 ConceptAtlas-06

For the sake of having a clear mind if possible, this is a concept atlas. The most interesting for me is the page with no images, Demountable – Removable – Remountable, because I found out that parts of houses that JP designed were used in different contexts – from a house to a chapel and a classroom.

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Among printing for the factoratlas, I have been working on a chronological atlas for Atelier  Jean Prouve and its evolution.

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Mnemosyne is the greek goddess of memory


We found an amazing website on the atlas with quite a lot of information for a few of the panels. The bottom screenshot is a linear arrangement of panel 79 chronologically.

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