The Image As A Collaborative Process

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The Image As A Collaborative Process

Vincent Meyer Madaus & Sebastian Bernardy _M.Arch Thesis Princeton School of Architecture

Advisor_Andrés Jaque / Liz Diller

 

 

Re-Wiring La Grande Borne

Re-Wiring La Grande Borne is an attempt at revitalizing and rewiring the estate of La Grande Borne by Émile Aillaud in the South of Paris. The methodology employed considers a sensitive reprogramming of existing protocols and a belief in urban vitalization through activation on terms of program, circulation and interference.

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Re-Wiring La Grande Borne

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Re-Wiring La Grande Borne

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Re-Wiring La Grande Borne

Bathometro in collaboration with Myrto Pappa, Francesca Ghiselli & Riccardo De Vecchi

Rome is characterized by fragmentation and layers, a permanent witness of destruction and reconstruction. The Tiber river represents its natural origin, the initial settlement developed on the seven hills that faced onto a ford beside the island. Through the exposition of findings collected from the water, the primary gas purification facilities of the industrial gasometer are re-programmed. The strategy of the main intervention follows the logic of this process, proposing a bath where the water in its purest state can be used as a newly interpreted public domain.

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Bathometro

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Bathometro

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Bathometro

Room For A Contemporary Traveler in collaboration with Zhi Rui Lim

The room of the contemporary traveler is set apart from boundaries: entrance and egress are only directional, as the traveler makes the way through the arranged furniture by order of use. Entering is completed by dropping off the luggage and hanging up the coat. The path leads through the mildly separated bathroom threshold before arranging coats and wardrobe thereafter. Maneuvering further in a loose spiral reaches a temporary repose on the television-aligned bed. Work and schedule follow, arranged on a two-layered station, centered.

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Room For a Contemporary Traveller

Interview

Who influences you graphically?
We appreciate the recent return to collages overall as we consider the hyper-realistic renderings to lack the warmth and atmosphere that simple collages can transmit. There are many artists and architects we admire, among them are definitely Atelier Bow-Wow, Andrés Jaque, Fala Atelier, Dogma, KGDVS, 51N4E, DVVT, Madelon Vriesendorp, Something Fantastic, Yoko Honda and Akira Yamaguchi.

You talk about a collaborative approach- how does this work in terms of the creation of images? Does one of you work on it and then the other or is it separate or both at the same time in different directions?

For our drawings, we go back and forth in exchanging files and opinions without needing to minutely observe the other’s work. In the end it’s a product of fruitful conversations and several iterations, surely even fertilized through the remote collaboration between places over the last years which allows for a constructively distant perspective to each other’s thoughts and images. Sometimes, we encounter ‘happy’ accidents in the process of creating, a mismatch in coloring and scaling, that sometimes make it to the final version.

What dictated the graphic language with which you choose to reveal a proposal?

We mostly work with both collages and line drawings, as they serve different purposes. While collages are a key to atmosphere and can more clearly show the hierarchy of elements in a given moment, line drawings can show the larger connection of items, the unfolding of events in a greater scene and the non-spatial connection of actions. It’s this constant toggling between the abstract overall and its natural manifestation of situations that fascinates us during the process of production.

What is your take on the art of collage?

Collages are the fastest and most alluring way of conveying a certain ideal and a conjuring of a certain plot in a scene. As a medium, they benefit from an inherent juxtaposition: Their elements are recycled and refurbished pigments of the past, but their assemblage shows a projected state yet unrealized. We are glad to make use of this tension as we feel it reduces the intangibility of architectural visualizations and fosters the perpetual speculation through montaging rather than the rash commitment to a rendered reality.

You talk about visual communication- what is the most effective way of conveying an idea for you? (collage/ render/ line drawing) is their a form of representation you can’t do without? Why?

We often rely on axonometric projections when showing the entirety of an idea. The almost bird’s eye view makes up for the abstractions of plan and elevation while preserving the impression of overall scale and scope of a project. A large axonometric can contain numerous scenes of projected use, can show transformation of elements through time and lets the observer shift their focus independently. In our line-drawings we try to incorporate as much detail as possible, to stay to a certain extent—as the medium of vectors—scalable. Unfortunately, as much as we like to zoom in, web-based publishing curbs the efforts to go into more detail, as rasterized images lose that ability to be magnified.

About

Vincent Meyer Madaus and Sebastian Bernardy are an architect duo from Germany and founded their collaborative practice Eventually Made in 2012.

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