Growth

Growth

March 2020
Avenue Franklin Roosevelt 42, Brussels
10.51 m x 7.18 m x 5.65 m (length x width x height)

3.3 tonnes of steel

239.4 running metres of hollow tube 6 cm in diameter

60 one-metre-deep piles
CONCEPT OF THE SCULPTURE
The form evokes a bar graph reaching toward the sky in a random motion. This alludes to the Solvay Business School, which educates students on the economic challenges of growth and competition in our society. One possible interpretation is the imbalance in the growth chart, reflecting the limitations of capitalism and globalization. This interpretation is anchored in current events, particularly the Coronavirus crisis. The title “Growth” refers not only to the economic aspect but also to the growth of plants. The sculpture appears to “grow” like a plant toward the light through the opening. This title lends the sculpture a timeless quality, allowing for multiple interpretations.

FORM OF THE SCULPTURE
The shape of the sculpture dialogues with the Solvay building. The curvature of the elevated auditorium facade mirrors the curve of the sculpture. The sculpture’s bars, emerging from the ground, converge toward the opening in the building’s roof.

STAGING OF THE SCULPTURE
The sculpture is positioned so that, when exiting the Solvay building, one faces its lower part. The direction of the bars and their increasing height guide the viewer’s gaze toward the roof opening. This staging metaphorically encourages students to push themselves and aim higher. The sculpture is also prominently displayed along Franklin Roosevelt Avenue, where thousands of motorists passing by each day will see the sculpture’s highest part, reminiscent of distant fireworks. It is also visible from the surrounding offices and residences overlooking the site.

Growth

March 2020
Avenue Franklin Roosevelt 42, Brussels
Design process
1. The site and site-related constraints (passage of pipes, tree roots, light poles) are studied.
2. A small model made of wooden stringers dipped in acrylic mortar is created.
3. This small model is digitised using a 3D scanner.
4. The scan is used as the basis for a 3D model of the sculpture.
5. The context is modelled, enabling the sculpture to be placed in a specific situation to determine its dimensions and location.
6. Computer-generated images are produced, enabling the appearance of the sculpture to be anticipated as far as possible, playing with sunlight, materials and realistic viewpoints.
7. Prototypes on a scale of 1:1 are produced at the Braines l’Alleud art school to study the construction and stability of the sculpture.
8. Plans, sections and elevations are drawn in parallel.
9. Quantity tables are used to order materials.
10. Tables with cutting lengths and angles are drawn up.

Growth

March 2020
Avenue Franklin Roosevelt 42, Brussels
Workshop construction process at Brandt et fils
11. Tubular sections and solid rounds are cut “blind” on the basis of cutting charts.
tables.
12. Tubular sections are painted (acid degreasing, primer + 2 coats of anti-rust
finish).
13. Tubular profiles are plugged at the top with polyurethane foam and a plastic
to prevent water from entering.
14. Square profile foundations are cut to 1m.

Thanks
Project commissioned by :
BLC – Bruxelles Libre Culture with Annick Duez and Léonard
Prototype development, Ecole des arts de Braine l’Alleud with Didier Leemans

Relations with Brandt & fils :
Pierrick Boffé,

Consulting
Alice Ds, Syntaxe Architectes, AAST, Pierrick Boffé

Ateliers Brandt & fils in Loncin (Liège):
George Brandt, Martine Brandt

Advice and workshop assistance :
Michel, Noël, Dominique, Pierrick Boffé, Quentin Deketelaere

Transport and unloading :
Alexis Libert, Thibault Libert, Anne Libert, Frédérick Libert, Max Parmentier, Christina Moschou

Sculpture installation :
Christina Moschou, Max Parmentier, Thibault Libert, Michaël Toussaint, Donatien Vincent, Quentin Reginster, Anthony Dejonghe, Guillaume Rampelbergh, Lucie Potelle, Emilie Fontaine, Laurène Papouane Belcour

15. The plates are cut out (20x12cm).
16. The plates are welded to the one-meter square profiles.
17. The solid rounds, onto which the tubular profiles fit, are welded onto the plates
to form the foundation complex.
18. The foundations are treated with anti-rust paint.
19. The sculpture is stored on pallets.
20. Parts are trucked to the site.
Sculpture installation
21. A grid of fluorescent cords is laid out on the lawn to define the location of each
each stake.
22. The holes are drilled using a thermal auger and hand augers.
23. The foundations are placed in the holes.
24. The tubular profiles are fitted onto the foundations, using silicone glue to prevent them
from being removed.
25. Paint touch-ups are carried out.
26. The label is installed in front of the sculpture.
Facebook-f Linkedin Instagram Youtube

© 2020 - GILLES LIBERT