Møllenberg: Urban gardening in Trondheim

Thibaut Devulder
Visualisation of urban farming over a historical picture of Møllenberg, in Trondheim, Norway

Our photomontage for the cover of the competition entry

We have just collaborated with Ur Arkitekter on a prequalification entry for the masterplanning competition of the Møllenberg neighbourhood in Trondheim, Norway..

Rethinking the identity and social dynamics of this historical neighbourhood in the centre of Trondheim — today mostly populated by students — our concept proposal explores how communal urban farming can be used as a catalyst to foster social diversity and renew community engagement in the city.

Riddle: a sculpture from waste plastic

Thibaut Devulder

Future Makers is a Nottingham-based creative studio who has been spending the last five years researching the potential of waste plastic, bringing together the local community, design creatives and artists to create innovative artwork and products.

Having recently acquired a whole set of waste plastic recycling and manufacturing equipment (which we have already started experimenting with), they announced an open call for a lead artist to craft an outdoor public artwork in front of their building, using one tonne of locally-sourced plastic waste.

The street facade of the existing Waste Plastic Studio (photo © Future Makers)


Our proposal

Continuing our exploration of community-built urban interventions in Nottingham, we responded to this open call with a diaphanous facade sculpture, to transform the Future Makers' building itself into a large art piece, and create a visually striking and intriguing street presence that hovers over the public space.

Questioning the ubiquitous nature of plastics in today's built environment and consumer society, the sculpture takes the form of a diaphanous mesh appearing to deform in and out of the building facades, to exude from the fabric of the building itself: the manifestation of the presence of plastics in a new, recycled form — and its metamorphosis from undesirable waste to creative potential. This large undulating sculptural mesh creates a unified identity across the site, linking the public space, the building entrance and the large industrial shed at the back.

 

How we use recycled plastic

Despite its visual complexity, the mesh of the sculpture is created entirely out of identical recycled plastic modules, assembled in a repeating reciprocal pattern. The mesh derives its three-dimensional shape from the pattern of assembly of these modular components, linked together with a simple zip-tie-like "cilium" component.

Building the sculpture

The form of the sculpture emerges not from the complexity of its components, but from the assembly process itself: simply varying the pattern of assembly along the mesh allows shear, deformation and stiffening of the surface into a complex shape that symbolically intersects with the building's facades.

Assembling the sculpture is deceptively simple and can happen almost entirely on the ground, before being attached to the facades. The assembly and erection of the different sections of the sculpture will be carried out during community workshops involving neighbours, local schools and fellow artists, creating a sense of ownership while introducing a large audience to the potential of recycled plastics as a creative material, through practical, hands-on workshops.

Examples of alternative assembly patterns for the modules that can be combined to create different levels of curvature and stiffness, and achieve the desired three-dimensional mesh form

 

Continuing our journey

Since its inception, 2hD has explored the relationship between architecture, visual arts and community engagement, through a series of successful international art projects ranging from architectural pavilions to collective sculptural work, interactive installations, scenography and audio-visual performances.

The common thread through all these different projects is our personal research into architectural elements as a receptacle for our own stories, emotions and daydreams, introducing a fractional dimension to surfaces to invite this projection — and exploring how, in turn, it affects how we perceive and inhabit the spaces they define.

This proposal also keys in with our love for reusing ubiquitous and repurposed materials: transformed cardboard boxes for collective community sculptures in The Lost Cuckoo, recycled plastic tubing to introduce school children and architecture students to complex geometries during hands-on teaching sessions, and natural fiber broom heads to clad an entire building for our Mission Control micro-office.

 

New approach

Thibaut Devulder
Rendering of our proposed new approach, with a new entrance to the house linking it to the new garage

Our proposed new approach for the house, as seen from the street

As part of a larger remodelling and refurbishment of a family house in Vinterbro, we have put a particular focus on redesigning the house approach from the street, linking a new accessible and welcoming entrance to the home with a new woodworking workshop and garage.

The existing approach, as seen from the street

Portfolio project
Yellow Brick Road #6 installation

Thibaut Devulder

Continuing our collaboration with artist Morgan Dimnet, of French art collective QuboGas, we developed an interactive installation that explored the relationship between of visual artwork and electronic sound composition.

The Yellow Brick Road #6 installation/workshop at the Frigo (Albi, France)

The project was inspired by the Mélisson, an educational modular sound synthesizer developed in the 1980s at the GMEA — Centre National de Création Musicale Albi-Tarn (France).

Initially created to introduce children to the fascinating world of sound synthesis through experimentation and collaboration, these playful instruments were also used by experienced electronic musicians to create complex soundscapes and compositions.

Morgan Dimnet wanted to place the Mélisson at the centre of his new installation/workshop, inviting pupils of local primary schools to use its intuitive physical interface as a composition tools for not only sound, but also for visual art.

Exploring infinite variations of sounds and visual compositions, the visitors are then invited to create a physical vinyl disc cover for their own musical creation.

Collaborative sound creation with the Mélisson modules (© GMEA)

As the knobs of the Mélisson modules are tweaked to create unique sounds and effects, this soundscape is translated into similarly unique composition of shapes and colours, projected onto the workshop’s wall — ready to be reproduced by the visitors on mini stamping workshops designed by the artist for the exhibition.

We developed for this installation a hardware interface that could “listen” to the Mélisson synthesizers, and a custom computer program that translated the sound creations into unique visual artwork, following the artist’s visual language and aesthetics.

The project took place in 2022 with several primary schools in Albi, and concluded by a public exhibition at the collaborative cultural centre Le Frigo.

Project credits:

  • Visuals and furniture design: Morgan Dimnet

  • Hardware interface and electronics: 2hD Architecture Workshop, with Jean-Jacques Devulder

  • Programming (Processing): 2hD Architecture Workshop

  • Music composition (vinyl edition): Roland Ossart

Samba in the stair

Thibaut Devulder

Following our complete remodel and extension of their cabins in Hvitsten, overlooking the Oslo Fjord, our clients asked us to also fit an extra living space in one of the little annex buildings on the site.

Sections through the proposed tiny annex cabin, showing the “samba” stair to the sleeping space above

The tiny cabin that we designed accommodates a play space for the children during daytime, a small workstation, sleeping space for two adults and two children, as well as a small terrace for summer breakfast overlooking the fjord. To reach the private sleeping space tucked up over the small living-room, we custom-designed a compact alternating tread stair, called sambatrapp (“samba stair”) in Norwegian, which also doubled as a bookshelves for the desk underneath.

We love working on self-build projects and custom-made furniture, so we were thrilled when our client announced that he wanted to build the stair himself. As with our custom-made screen wall in the main cabin, we developed in collaboration with him alternative designs for the stairs, adjusting the design to joinery techniques he mastered, to produce a full cut-and-assembly manual to build the stairs.

A roof top terrace in central Oslo

Thibaut Devulder

Our visualisation of our proposed roof terrace in central Oslo

Having secured planning permission for our roof terrace project in central Oslo, we are now finalising the detailed design, with construction of the staircase extension and roof landscape due to start on site this spring. Above is a quick visualisation we prepared for our clients’ presentation to the residents of the housing cooperative — based on the 3D model that will also be used to communicate all the technical documentations for the construction phase.

Would you like to create new places for your community to meet and thrive?

Illustrations for a new court house

Thibaut Devulder
Approaching the new courthouse in Eidsvoll (design by Besseggen Arkitekter)

Approaching the new courthouse in Eidsvoll (design by Besseggen Arkitekter)

Continuing our collaboration with Besseggen Arkitekter, we have produced a series of illustrations to present a new court house project to the municipality of Eidsvoll, Norway.

This ambitious project, designed by Besseggen, aims at gathering on the same site the different courthouses of the region as well as a new police station, cradling the site of the old train station on the bank of the Vorma river.

Thanks to an efficient design workflow developed by Besseggen, we were able to produce inspiring illustrations based on their BIM model at an early stage of the design process.

These images were used to present the project to the local community and gather political support, before the Norwegian Court Administration takes a decision later on this year on the future location of the new regional courthouse.

Design concept for a fire station

Thibaut Devulder

Concept design visualisation of our future fire station in Såner, Norway, with its public facing core building and connected modular fire engine halls at the back.

I have been collaborating this last week with Besseggen Arkitekter (with whom we are sharing our new office in Oslo), developing a design strategy for a new fire station in Vestby, Norway.

The competition brief called for an easily extendable building, with a strong focus on personnel safety. I have prepared this sketch concept view, together with diagrams explaining our design approach to address these points. Using a construction strategy based on modular plug-in elements with identical folded structure roofs, each module can be easily connected to the station as it expands in the future, supplementing both additional capabilities and associated staff accommodation to the facilities.

The design strategy diagrams we prepared for the competition

Portfolio project
Symétriades: visualising contemporary music

Thibaut Devulder

View of our live projection mapped onto the performance stage

Symétriades/Extension is a visual experience that we created for an eponymous contemporary music piece for solo double bass and musical artificial intelligence.

Commissioned by Le Fresnoy - Studio National des Arts Contemporains in France, this art performance was presented at a contemporary music festival in October 2018.

In this project, art director Alain Fleischer and music composer Yann Robin wanted to express the idea of an abstract immolation of the soloist through the performance of this powerful musical piece, “plunging the audience into an immersive experience of engulfment” and “a fusion between the worlds of the seen and the heard.”

We developed with the artists a scenography and live video projections generated in real-time by the sounds and movements of the musician on stage, merging the expressionist visual universe of Alain Fleischer with poetic elements from Stanislaw Lem’s book Solaris.

“This is what I call an immersive experience! It was incredible to witness my own avatars being destroyed in real time, as I performed the piece.

2hD’s work, under the artistic benevolence of Alain Fleischer, gave an exponential dimension to Yann Robin’s composition, merging the visual and musical architectures into one.”
— Nicolas Crosse, soloist in the performance
 

Extract from Yann Robin’s musical score, codifying the complex movements of the soloist on the double bass (image © Yann Robin)

Symétriades as a musical piece

Composed in 2013 by Yann Robin, Symétriades is the second opus of three abstract compositions, all titled after the incomprehensible architectural formations described in Lem’s fictitious discipline of solaristics.

Inspired by and written for Nicolas Crosse’s double-bass powerful playing technique, the composition of the musical piece also includes an artificial intelligence that reprocesses in real-time the soloist’s live performance. This electronic system, developed at the Institute for Research and Coordination in Acoustics/Music (IRCAM), distorts, filters and reconfigures the music into a network of 8 loudspeakers and 4 sub-woofers that spatialise the sounds around the audience.

 

The visual experience

The artists wanted to visually express the contained ferocity of the music, using the metaphor of the bass as an instrument of self destruction.

Echoing some of the themes from Lem’s enigmatic book, we constructed the visual narrative of the performance as a succession of digital incarnations of the bass player.

Overlaid onto his physical presence on stage as video projections, each of these “doppelgänger” gets corrupted and eventually destroyed under the assaults of the sounds and movements of the musician on stage. Progressively turning into an abstracted version of his image, it finally recomposes itself into a purely abstract visual representation of the music.

To achieve this, our approach mixed real-time filming, 3D motion analysis of the musician on stage and sound analysis. We coded a custom computer program that could dynamically create and composite layers of animations over the image of the musician being projected onto the stage and coordinate them with the electronic sound processing.

The dynamic nature of our system allowed the video projections to adjust to the improvisations of the musician during the performance — something that the musical score specifically encourages during certain parts of the piece!

 

Double-bass solist Nicolas Crosse during rehearsals, seen through the shifting moiré of the translucent projection screens of our scenography.

The scenography

In parallel to the visual effects, we also designed a stage scenography for the performance.

From an early stage, we wanted to keep the powerful delivery of the soloist at the centre of the visual experience. Its perception by the audience should therefore be altered not only by the means of digital video projections, but also through the physical, direct medium of the scenography.

Playing with the perception of depth, we shrouded the stage with multiple layers of finely meshed black fabrics. These translucent surfaces create the screen for the video projections superimposed onto the stage and blur the projection into an elusive volumetric presence.

Positioned between the audience and the stage, they further distort the direct sight of the bass player through shifting patterns of moiré, adding to the expressionist makeup and costume of the performer, and echoing the liquid nature of the book’s protoplasmic being. Modulating the contrast between stage lighting and video projections, we could also shift the audience’s focus between the performer on stage and his abstract projected doubles.

 

The creative process

As we developed and refined the effects over the course of the production phase, we produced a series of video prototypes that precisely simulated the effects, based on high-definition videos and 3D captures taken during the first rehearsal. This allowed the involved artists to visualise the performance in real conditions at each design iteration, keeping the artistic discussion open and adjustments to the system simple.

We also took care of sorting out the technical solutions for the performance, selecting adequate equipment and producing detailed 3D models of the scenography and technical workflows, so that its feasibility could be checked with the technical team as the project developed.

Credits for the project

Art direction: Alain Fleischer
Music composer: Yann Robin
Double bass soloist: Nicolas Crosse
Electronic sound treatment: Robin Meier
Scenography & live video projection system: 2hD
Production manager: Bertrand Scalabre
Stage manager: Alexis Noël
Sound setup: Geoffrey Durcak
Production: Le Fresnoy - Studio National des Arts Contemporains, in co-production with L’Ensemble Multilaterale

More articles about the Symétriades performance:
symetriades-sparks.jpg
Symétriades: visualising contemporary music
Symétriades-technical.jpg
The tools we used for the Symétriades performance
Symétriades live performances this weekend!
Symétriades live performances this weekend!
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First rehearsals for the Symétriades art performance
Screen Shot 2018-10-15 at 15.32.43.jpg
Visualising interactive art installations with Processing and SketchUp
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New art performance project at Le Fresnoy

Are you an artist working with interactive installations or performances?

The tools we used for the Symétriades performance

Thibaut Devulder

Technical diagram of the performance setup

Capitalising on our experience in the Ooo-Ya-Tsuproject, we developed for the Symétriades/Extension performance a custom program in Processing, which managed the sound, video and motion captures and generated the projected visualisation in real-time.

Some open source libraries were also used to interface together the different components of the system: Open Kinect for Processing (for real-time video and 3D analysis on stage), Minim (for real-time sound analysis) and oscP5 (for OSC network communication).

The different computers in the performance were communicating via OSC, using the excellent OSCulator (controlling the multi-track audio playback) and TouchOSC, for which we developed a custom graphical interface to tune the parameters of the Processing program in real-time.