ΑΡΧΈΤΥΠΟ

Project

Lighthouse; a particular architectural object, halfway between the work of art and sculpture.

A specificity as a point of departure in a process of reflection.

If the lighthouse was a sculpture; I would contemplate it from the front, sitting in the sand, passively. I would first imagine a figure that stands and draws in the landscape at the pace of an aerial rhythm. This sequencing would mark the first vision of an ascent to the top, a search for verticality with respect to the ground.

If the lighthouse was a work of art; I would imagine it both robust and airy. I would not forget its primary function of providing vertical access to its end.

What if in the end, I wanted to rebuild in some way the archetype of the lighthouse?

I would start by sequencing, in a divisionist wa similarly to as Mondrian, the elongated figure, leading to its summit.In a more radical way, now, I would come to deconstruct the shape by circulating the gaze throughout the ascent of the lighthouse, its primary function. I would now contemplate, frontally, the figure of this lighthouse, like a photograph of the Becher. The very archetype of the lighthouse appears, marked by its sequencing in the manner of a painting, the metallic mesh, alternately, comes to play the eyes of users. Traffic, too, is alternated. It allows a step up to the lantern and the ladder, it passes from left to right to reach its summit.

Traffic, the primary function of the lighthouse, is magnified, put forward, and the lighthouse by its frontal and sequenced look surprises the user with an architectural layout based on geometric alternation and halftone.

Interview

What prompted the project?

For this lighthouse project, I wanted to return to a very common vision of the flagship object as such. I wanted to imagine it as a symbol; symbol appealing to our most childish, simplistic ideas. To our most naive representations are added what constitutes our primary collective imagination.
Without apparent complexity, the lighthouse is then read as a two-dimensional archetype.

What informed the language of representation and the various drawings explored?

My project representation quickly turned to collage and mainly to two-dimensional views. Like a painting, one reads the geometrical composition of the headlight by appreciating what makes all the characteristic of the object: the ascent towards the summit, towards the light, and the reading that one makes of this alternating ascencion.
The choice of bright colors was justified by the very childish character of my lighthouse. Inspired by children’s art books, this lighthouse overlooks a summer beach appealing to our most primary imaginary.
I absolutely wanted to make speak my archetypal vision of the lighthouse by a language very illustrative, very naive.

What role do the silhouettes play? How do they inform the structure ?

The characters used, too, play a very important role in the composition of my images.
Like this landscape that looks directly cut in sheets of colors, these characters perfectly illustrate this graphic research of the illustrative, the album for children.
They also inform the viewer of lighthouse uses. This one serves the ascension towards its summit but also calls on the poetics of the contemplation; the lighthouse, it is also this monument that one wishes to climb to observe the landscape of higher.

Gordon Matta Clark famously quoted 'The difference between architecture and sculpture is there is plumbing', what is your take on this?

Architecture, just as sculpture questions the form and apprehension that one has as a user or spectator.
At all times, sculpture has been present in architecture.
In antiquity, the various elements (columns, pediment, etc.) that constitute the temples are carved; and today, the border between art and architecture remains feverish. Photography, graphics or sculpture influence the architecture and the project itself.
Thus, nowadays, with the unlimited imagination of architects and their increasingly iconoclastic works, the limit between architecture and sculpture seems more and more blurred.
Where Gordon Matta-Clarck is right in my opinion is when he uses plumbing to differentiate architecture from sculpture. According to me the plumbing evokes the use and so the man. The sculpture is contemplated, the architecture too; but it can not detach itself from its technical aspect.
However, if it can not detach itself from its technical aspect, architecture, like sculpture, must not detach itself from its sensitive aspect.

What role does literature and narrative play within the development of the project itself?

In this project, narration fuels the imagination. It is a starting point in the story I am trying to tell, but it is also an end point in the way of presenting it.
The narration must allow in this case to let the receiver imagine. It is possible for him to close his eyes, to make his own image of the lighthouse. When I evoke the archetype, I let the receiver appeal to his own thoughts.
No need for ultra-realism, by the evocation of references and images, I hope to emit a sensitive reading of my architecture.
When I say “I would now contemplate, frontally, the figure of this lighthouse, like a photograph of the Becher.
The very archetype of the lighthouse appears, marked by its sequencing in the manner of a painting, the metallic mesh, alternately, comes to play the eyes of users.
Traffic, too, is alternated. It allows a step up to the lantern and the ladder, it passes from left to right to reach its summit.
Traffic, the primary function of the lighthouse, is magnified, put forward, and the lighthouse by its frontal and sequenced look surprises the user with an architectural layout based on geometric alternation and halftone. », I wish to give sufficiently precise indications in the way of seeing and observing within oneself. On the other hand, I wish to remain vague enough in the way of describing the architecture of my lighthouse so as to leave the necessary part of imagination to the reader.
Thus the project becomes multiple, it is fed by the reader of the project itself which finds a kind of freedom and naivety often neglected in childhood.

What was your work process? What time frame did the project have?

It was an extremely short project over three weeks. First of all, I first define what the lighthouse meant to me. It is from this mental exercise that the story began. The lighthouse was very quickly archetypal in my reflection.
I quickly brought the lighthouse closer to the sculptural object; it is a landmark on the beach, it stands and draws vertically with only function its rise to the lantern.
The ascent as a starting point as well as graphic references then led me to draw this lighthouse as a mental composition of the archetype.

What is the most important tool?

The most important tool, in my opinion, is thought. We must, in my opinion, call on our imagination constantly to imagine strong concepts that jostle and re-question our practices and apprehensions.
This thought is therefore necessarily accompanied by multidisciplinary tools.
Art in general must serve architectural design in my opinion. Photography, graphics, painting or drawing must be able to influence the setting in space. The design must be carried by the sensible part of our practice or our approach to art.
Art is an extension of thought, and architecture must not cease to appeal to it because it is by this part of sensibility that the constructed reality will join fiction then imagined.

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