Entropic and organic structures by François Roche

François Roche was born in 1961 in Paris,. He obtained his architecture degree from UPA n° 3 in Versailles in 1987. His partner Stéphanie Lavaux was born in 1966 in La Réunion, and she left the French National Fine Arts Schooll (ENSBA) in 1990.
The exipbition catalogue explained that “The architecture of R&Sie François Roche/ Stéphanie Lavaux is inseperable from the environment; one might speak of a kind of furtive architecture. In his projects François Roche attempts to refrain from radically modifying the territory,sseking a form of a dialogue with it that is entropic and organic. He is currently undertaking a critical experiment with new morphing technologies to prompt architectural “scenarios” of cartographic distortion, substituition, and territorial mutations.
Although R&Sie has not done much sctual building until now, their ideas and influence have been of considerable importance.

R&Sie architects: http://www.new-territories.com/

1. “Terra Incognita”

One of their latest work is called “Terra Incognita”.
http://www.new-territories.com/terraincognita2.htm

HOW FLATNESS IS REVERSABLE / Terra incognita is an island which only recently appeared in the Antarctic continent, as a result of climatic global warming and the subsequent merging of ices. Here, the ice white albino penguin can be also be found. Their differences of color produce their rejection from the penguin colony. In the icy winter wind, their loneliness become the main factor of their progressive freezing and their upredictable death.
In their homepage…. They state that
“Our installation unfolded as a series of surfaces on 200m2 , made from honeycomb aluminium. Its form was generated using a parametric script, and was manufactured by controlling milling water jets through the computational script. The single surface was then stretched and sheared by counterweights consisting of different volumes of water that represent different volumes of melted Antarctic ice. Amidst this unstable balance stood a robotic albino penguin whose only gesture was the occasional blinking of an eyelid. More the water in the counter balances is evaporating itself in the climate condition of the indoor Museum, more the artificial and aluminium island is re-defining its own flatness.

This process is talking about the instability, indeterminism of the biotopes. It's talking how the the warming of the climate is deeply introducing conditions of uncertainty ness.
The Odyssey is the story in three steps ;
- the report on the real situation of Antarctica
- the scanning of the territories emerging from the melting of the snow
- a re-development of the process of instability in two place / the Tate and the Mam”

Click here in order to see the movie done on this project:
http://www.new-territories.com/terra%20essai%208.mov

2.“I have heard about

“I have heard about…”is considered to be a flat, fat, urban growing experiment.
http://www.new-territories.com/I

R&Sie state that “I’ve heard about something that builds up only through multiple, heterogeneous and contradictory scenarios, something that rejects even the idea of a possible prediction about its form of growth or future typology.
Something shapeless grafted onto existing tissue, something that needs no vanishing point to justify itself but instead welcomes a quivering existence immersed in a real-time vibratory state, here and now.
Tangled, intertwined, it seems to be a city, or rather a fragment of a city.
Its inhabitants are immunized because they are both vectors and protectors of this complexity.
The multiplicity of its interwoven experiences and forms is matched by the apparent simplicity of its mechanisms.
The urban form no longer depends on the arbitrary decisions or control over its emergence exercised by a few, but rather the ensemble of its individual contingencies. It simultaneously subsumes premises, consequences and the ensemble of induced perturbations, in a ceaseless interaction. Its laws are consubstantial with the place itself, with no work of memory.
Many different stimuli have contributed to the emergence of “I’ve heard about,” and they are continually reloaded. Its existence is inextricably linked to the end of the grand narratives, the objective recognition of climatic changes, a suspicion of all morality (even ecological), to the vibration of social phenomena and the urgent need to renew the democratic mechanisms. Fiction is its reality principle: What you have before your eyes conforms to the truth of the urban condition of “I’ve heard about”.
What moral law or social contract could extract us from this reality, prevent us from living there or protect us from it? No, the residence protocol of “I’ve heard about” cannot cancel the risk of being in this world. The inhabitants draw sustenance from the present, with no time lag. The form of the territorial structure draws its sustenance directly from the present time.

Made of invaginations and knotted geometries, life forms are embedded within it. Its growth is artificial and synthetic, owing nothing to chaos and the formlessness of nature. It is based on very real processes that generate the raw materials and operating modes of its evolution.
The public sphere is everywhere, like a pulsating organism driven by postulates that are mutually contradictory and nonetheless true. The rumours and scenarios that carry the seeds of its future mutations negotiate with the vibratory time of new territories.
It is impossible to name all the elements “I’ve heard about” comprises or to perceive it in its totality, because it belongs to the many, the multitude. Only fragments can be extracted from it.
The world is terrifying when it’s intelligible, when it clings to some semblance of predictability, when it seeks to preserve a false coherence. In “I’ve heard about,” it is what is not there that defines it, that guarantees its readability, its social and territorial fragility and its indetermination.”

In order to see the movie done by R&Sie on this project click here:
http://www.new-territories.com/videos/film_robot/film_robot.htm