Rendering Interactions Between Project And Site
Amblard Amélie, Busmey Lisa, Huot-Marchand Coraline & Sessini Enzo@ National School of Architecture of Strasbourg, 2017
Competition _InNatur6 Opengap Competition (3rd Prize)
49°42’22.9’’N 0°11’40.3’’E – The cliffs of Etretat belong to the artists who attempted and are still attempting to capture their magic. They also belong to the walkers, solitary or in groups, visitors or locals, who never stop passing by and coming back, attracted by the magnetism of their beauty. Those cliffs belong to all, and especially to the visitor, the tourist, the local, the child and the old man who stop there and have, every time, a personal, singular and powerful experience. Knowing that this experience is shared with all those who were there before and will be there in the future does not lessen its charm. To the contrary, this physical experience offered by nature makes even more sense when it is shared between human brothers.
Because this incredible natural sight relates us back every time to our human condition within nature. The cliffs of Etretat are not just simply an extraordinary scenery, a true tragedy between elements takes place there. The actors marked the landscape with their footprints : the ocean, the wind, the climate, the faun, the flora and most of all, time. Time playing the first role because he gave to this place his new aspect while threatening to transform it over the passing seasons. Time and nature are the two directors of this spectacle, which can still change to suit their respective cycles.
It occurred to us that the circular shape is the best suited to grasp this infinite and inscrutable scenery. It gives value to each element of the site without prioritizing any of them. By following the landscape’s relief and mimicking the different cycles, the building seeks to create an harmony without lessening the hardness -and even violence- of the landscape. The spectacular view does not originate from an artificial human decision, it is nature that dictates the points of view and experiences to the visitor. However, the building does not only seek to integrate and fit the place. It also wants to be it guardian and protector. For the visitor to study, understand or contemplate without having to choose, with no other injunction than to integrate with humility in the current cycle.
Who influences you graphically?
Our influences have been very diversified. We can point out visualising agencies like Peter Guthrie (Glenstone Museum) for the relationship between architecture and atmosphere ; Photographers like Benjamin Hardman’s and Rich Stapleton’s works, who capture a sort of landscape’s poetry (light, materials, shadows, colours) ; and even architecture agencies like RCR. But most of all, we found our influences by creating boards of hundreds of references from all over the world, students, architects, and even unknown people, to help ourself to find which atmosphere we were looking for.
What is your take on the hyper realistic render?
First of all we think that hyper realistic renders talk to everyone aware or not that architecture make part of us.
It also appeared to us as the way to represent un ephemeral architecture moment in all the width of its spectrum. Indeed, more than showing the constitutives elements of the project, the idea was to show, through hyper realistic renderings, the possible interaction between the projet and its site, from the mist thickness, to the brightness of concrete on contact with the rain.
What is your take on colour?
On the same way, colours have been first chosen to illustrate in a realistic way vegetation, sky and even cliffs, of the North-Atlantic French coast. However colours have also been chosen in order to create visual dynamics in the image. For exemple, the choice of autumnal rendering brought orange hues creating complementarity with the blue hues of the Ocean. To sum up, colour have been a tool permitting to structure the image composition for the reader, while being worked in a realistic aesthetic.
What defined the selection of views you choose to reveal the proposal through?
Views have been chosen in order to show a maximum of spaces & sensations , while explaining the articulation of the project with the three fundamental elements inherent in the site: Water, Earth and Air. After that we decided to capture an inside and outside view of the project in relation with each element, and a general view to situate the project.
Then the renderings frames became horizontal for inside views, accentuating the horizontality of the circle, and vertical for outside views, insisting on the depth and the immensity of the landscape in relation to architecture.
Finally the composition of images has been worked in 3 ways : show the depth of the circle, the project isolation and the domination of elements on architecture.
The soon to be graduated architects from the Strasbourg National School of Architecture, Amelie Amblard, Lisa Busmey, Coraline Huot-Marchand and Enzo Sessini, are in fact a group of friends who often associates themselves to participate in diverse competitions, such as the 2016 Steel In Competition and InNatur 6th edition.
However, more than Architecture, they are mostly interested in many other subjects peripheral to it. Music, Travelling, Fashion, Photography, Cinema, Illustration, Metallurgy or even Ceramic, all of them are fragments of what helped to define themselves. Moreover, through all these mediums they always have been fascinated by human body interaction and perception with his environnement, raising the question of atmospheres.
Indeed, as much through materiality, colour or concept, atmospheres always seems inherent in a site and its culture. That’s why after several internship around the world (France, Spain, Canada, Argentina), they intended to develop a project reflection, where architect help architecture to emerge on its own, more than determinate strictly how to built.