CV & SELECTED WORK
PORTFOLIO
Ariane Lieberherr, Academy of Architecture in Mendrisio, Master of Architecture 2021 Graduate. University of Bath, Bsc of Architecture 2017 Graduate.
Born the 5th of April 1995 in Taipei, Taiwan. Nationality - French and Swiss.
29 Chemin du Rocher Marquant , 78490 Bazoches-sur-Guyonne, FRANCE +41 76 218 76 15 arianelieberherr@hotmail.fr
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Curriculum Vitae EDUCATION 2019 - 2021
Mendrisio Accademia
Master of Science in Architecture Graduated with Distinction 2013 – 2017
University of Bath, Department of Architecture and Civil Engineering. Bachelor of Science in Architecture (BSc Honours) Graduated with First Class Honours.
September - December 2015
Erasmus, ENSAL (Ecole Nationale Superieure d’Architecture de Lyon). Followed the first semester of the master program.
2011-May 2013
International Baccalaureate, Antwerp International School. Bilingual diploma (French and English). Higher Level : Art, Physics, Mathematics. Mathematics and Art academic awards.
EXPERIENCE August 2018 - November 2019
Feilden Fowles - London, architectural assistant.
March - September 2016 March - June 2015
NU Architectuuratelier - Ghent, intern. Riotinto Diamonds - NYC, intern.
August – September 2013
file organization, product research, mystery shopping.
July – August 2013
Tuttis Frozen Yoghurt - Palma, Mallorca professional experience – seller.
July – August 2012
Ashe & Leandro Architects - NYC, intern.
July - September 2011
Organic farm - Belem, Brazil, voluntary work. Helping in the fields, realising photoshop plans of the farm.
July -August 2010
Curia, Ecuador, voluntary work repainting a primary school.
LANGUAGES
SOFTWARES
English - Fluent.
AutoCAD
French - Fluent.
Microstation
Spanish - Beginner
ArchiCad
Italian - Beginner
Adobe suite (Indesign, Illustrator, Photoshop) Sketchup
EXTRA CURRICULAR ACTIVITIES AND RESPONSIBILITIES Associations
Participation to the simulation “Model United Nations” (MUN ) Participation to the realization of the Yearbook AIS. Participation to the realization of the Bath University Yearbook 2017.
Music
Flute (12 years)
Sports
Ballet (10 years). Yoga (8 years).
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Contents
YEAR 8
Mendrisio Accademia
6 A bicycle factory, Saint-Etienne. Atelier Bearthes, 2021. 24 Reinventing Walls, Sant’Elena, Venice. Atelier Petzet, 2020.
YEAR 7
34 A house by the Sea, Nachikatsura. Atelier Olgiati, 2020.
46 Timber pavilions, Atelier Pedrozzi, 2019.
YEAR 4
Bath University
58 Reggio Emilia School, Dorchester. Final Project, 2017.
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Bicycle Factory, Saint-Etienne. 2021, DIPLOMA PROEJCT, SEMESTER 2, MASTER 2, INDIVIDUAL WORK.
My project enscribes itself in a masterplan
It is with the same spirit of of looking for
(conducted in groups of 3) for the area
hidden potential in the existing that I im-
Manufacture-Plaine-Achille in Saint-Etienne.
agined a bicycle factory, a craft strongly
Today dedicated to innovation, the area in-
rooted in Saint-Etienne, es a way to reintro-
cludes large cultural and educational build-
duce craft and its social role in the city after
ings. With a strong industrial heritage, it is
it has been outsourced post-deindustrializa-
sandwhiched between a tight knit historic
tion. The factory makes the most of the con-
centre to the south and a sparse industrial
temporary resurgence of craft, the ease of
area to the north. After an analysis on the
making things in a digital age, and the very
redevelopment of post-industrial cities and
recent return to France of the production of
their fringe neighbourhoods, we came to
Mercier bicycles.
the conclusion that rather than a prescriptive masterplan we were looking for a gen-
The new factory rethinks the cliched isolated
eral strategy encouraging opportunities and
identity of the factory and brings together
innovative approaches.
three communities around the act of making - a factory, a craft school, and public spac-
We imagined a system of layers - a park as a
es. All three include similar spaces - larger
common ground reconnecting the two parts
workshops, smaller classroom like spaces,
of the city, overlayed with a grid emerging
and service cores. Laid out across two lev-
from the orthogonal historic city fabric. The
els along a tartan grid, the spaces and the
grid creates layers of circulation and sepa-
programs interlock and interact.
rate plots. Individual projects each adopt a plot and adress both the constraints specific to it and to the general masterplan.
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Organisation strategy A tartan grid allows the different spaces to
which services are tucked (2). Courtyards
interlock around the structure. At the grid’s
mediate between the functions (3). Pas-
intersection points service cores enclose
serelles cross through them, weaving to-
vertical circulation (1) and give access to
gether the different areas (4).
an upper level of classrooms spaces below
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The faceted facade reconciles the orthog-
access to both the ground and first floor (6).
noal grid with the circular shape and creates
By tucking all services and circulation within
one continuous facade for all aspects of the
the depth of the grid in this way, large open
program (5). Each entrance, enclosed and
workshop spaces can unfold between them.
connected to a service core, provides direct
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The factory organised around a central courtyard is sandwiched between the school to the north towards the industrial neighbourhood and the public spaces to the south facing the historic centre with shipping and delivery happening along the east side. From the foyers of both the school and the public spaces one can access any of their workshops or café, classrooms and offices upstairs or service spaces tucked below. The different stages of the factory’s production process take place counterclockwise around the central courtyard and end with the factory store and showroom, acting as a link between the factory and the public spaces.
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Long section (North South) In the north-south direction courtyards are a common ground between different workshops and functions. Smaller courtyards create break out zones and visual connections while the larger one becomes a space of circulation and testing for the factory. 13
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Short section (East west) in the east west direction classroom and service spaces seperate workshops. The regular openings allow classrooms to overlook the different workshops and courtyards creating a porosity between functions while still keeping their privacy. 15
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Structural Strategy Like the machine that the bicycle is the
First columns enclose storage & vertical
building is also an assemblage of inde-
circulation (1) over which welded trusses of
pendent elements with a clear sequential
classroom and offices bridge (2).
construction strategy.
Pyramid like structures meet base columns and give shape to workshop spaces (3).
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I-beams enclose courtyards and provide sta-
cladding wraps around and is fixed to the
bility to the pyramidal structures. The struc-
structure. The upper level classroom spaces
ture meets the faceted edge of the building
are lined internally with smooth aluminium
through a truss. (4)
panels. Fixed to the I-beams, glass curtain
Like a large metal tent, a corrugated metal
walls define the courtyards. (5)
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Detail, Long Section (pgs 12-13)
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Detail, Short Section (pgs 14-15)
Each element has its individual presence yet
cladding. Passerelles cantilever out of the
together they compose a whole. The bridg-
webbed I-beams. Metal angles and u-chan-
es are welded to the columns while the
nel sections line the structure and serve as
I-beams and diagonal roof elements meet
rails for curtains, sliding doors and lighting
them through metal flanges piercing the
elements. 21
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The use of colour and repetition highlights
the factory to be reapropriated by different
the impression of families of independent
people over time. It tries to be a machine
yet interlinked elements. Like a piece of in-
weaving the different scales of making back
frastructure for the city, we can imagine
together
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Reinventing Walls, Venice. 2020, SEMESTER 1, MASTER 2, GROUP WORK (PAIRS).
We imagined a future in 2039 for the island
rather than seperating different zones and
of Sant-Elena, Venice, a residential area hid-
communities. The walls themselves become
den behind the touristic centre which gives
a kind of backstage serving and connecting
the impression of a backstage and functions
the space around and within. They merge
as one. It serves the entire city with its large
the surrounding isolated areas into one park
infrastructures including a park, a stadium,
creating a belt of circulation and pulic sports
the giardini, the venetian sailing school,
facilities extending around the island. Our
a dissused boat repair area, and a military
new walls give a new life to the previous
school. Today these areas are either aban-
functions of the island through the new con-
doned or used very irregularly. Walls isolate
nections they create.
them and the communities they enclose strengthing the feeling of backstage in the
A few interventions are explored in the
space in between.
following pages while the connections between them are illustrated in the video at-
Our project reinvests these walls and turns
tached to the qr code or the link below.
them into diffuse thresholds connecting
https://vimeo.com/580771422
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Biennale entrance In the biennale wall, currently turning its
large door, spills out into the park with a pa-
back to the residential area of Sant’Elena, a
vilion structure. The polish pavilion located
new entrance adresses the existing square
there is given the opportunity to design a
and creates a new cultural forum in the res-
new structure at the location of the swatch
idential area. The entrance, marked by a
advertisment pavilion.
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Sailing school A new sailing school and boat repair closes the loop between the east and the north side of the island. A flexible A-frame structure allows public passage on either side and a variety of enclosed and open spaces.
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On the northern end a crane moves boats onshore to the repair space. A fabric can be pulled down to provide shelter to the exterior spaces when necessary. A moveable bridge allows the passage of boats.
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Stadium We imagine a new stadium for Venice in
ing piazzas and allowing the stadium to be
the same historic location - using the ex-
used outside match hours.
isting pitch. For Venice to become a con-
A new Vaporetto stop to the east of the is-
temporary city and not a museum, social
land allows easy access, and faces the main
infrastructure should be located within it.
entrance the lagoon and has a large piazza
One structure carries the tribunes on one
in front of it. A fast line would arrive from
side and creates different spaces below,
the mainland and turn this square into a
blurring the boundaries with the surround-
lively neighbourhood in Venice.
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Military school wall The enclosure of the military school re-
as a facade yet contains different spaces.
cedes sharing its sports facilities with the
Within the school grounds, it provides
extended park. A new flexible wall medi-
pockets of sheltered space while on the
ates between the school and the park.
side lining the park it becomes an arcade.
A curtain of metal mesh allows the school
The wall provides both sides space to
to control the level of porosity between the
store sports equipment and becomes the
two.
meeting point between public and private
The wall’s flat ply clad elevation identifies
space.
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A House by the Sea, Nachikastuura. 2020, SEMESTER 2, MASTER , ATELIER OLGIATI, INDIVIDUAL WORK.
With my project, the sea, a source of inspiration for countless artists, becomes a place of refuge for a writer and a painter. Confronted with the landscape changing constantly with the tides, the refuge becomes a place of routine yet of constant creative stimulation. The house is in Nachi Katsuura - a small coastal town in japan difficultly accessible by tourists. Despite this landscape’s common misconception as an untouched part of the world, in reality, because of rural to urban migration Nachi Katsuura has suffered a large decrease in population leaving many buildings abandoned. Due to its rocky character the shore is not easily accessible resulting in most buildings being built right on the water front. The house in this rocky landscape becomes an access to the sea.
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From a path off the main road, two triangular objects flaot above a platform at a right angle to one another. Here one lives in a tent on a platform floating above the sea, and sleeps in the cave below. The changing tides constantly alter ones experience of the house. Differing from our 24hr cycle the tides create a constantly new perception of daily routine.
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Plan lvl 0 A hole in the platform leads down directly to the sea - water or land depending on the tide. A second circular opening leads to the living space, organised around a hearth and a kitchen overlooking the horizon. 38
Plan lvl -1 A staircase cuts a hole in the ground and leads to a corridor enclosed in a beam below. The corridor continues down a flight of stairs to the bedroom.
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Like a cave, the bedroom feels enclosed and grounded. Each space is shaped by its interaction with the sea.
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The house is a place of contrasts. In between being a place of routine and of constant change, a place of retreat and of expansion, of simplicity yet of magnificence, it is a place of creative stimulation for the artists that live there. The platform overlooking the sea is supported at three points - an extremity of the inhabited beam, a column and the bedroom. Confronted with the jagged coast, the building’s strong forms stand out like an object in the landscape. In time the concrete building like a large stone, becomes part of the nature around it.
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Timber Pavilions, Ongaro Graniti. 2019, SEMESTER 1, MASTER 1, GROUP WORK.
We designed and built three pavilions over the course of the semester along side to our individual projects. Located in a granite quarry, they are mobile places of shelter for the workers there.
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A Timber Pavilion. 2019, SEMESTER 1, MASTER 1, INDIVIDUAL WORK.
The term pavilion suggests a world where form does not always follow function ... Originally, the word stems from the Old French paveillon meaning butterfly. Both are small, stand alone, independent yet in dialogue with their surroundings. Like the butterfly, there is something practically otherworldy about the small structure of the pavilion. Oneiric, they offer a new perspective on our world. Which role and place could the pavilion adopt today and what kind of particular experience could it offer ? Pavilions enchant offering places of refuge from our urban landscapes much like the pavilions in 18c gardens. In urban landscapes, pavilions can follow different rules to those of our profit/ efficiency oriented cities without imposing, unlike the large scale modernist utopias. I imagine a pavilion taking on different roles according to the the nature of the different cities and public spaces it could inhabit.
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The contrast between internal and external experience of many pavilions is intriguing often apearing as objects from the outside yet enclosing a nework of experiences. From afar, the pavilion appears as an abstract box while from within different spaces arranged on a 2.7m grid unfold in an endless spiral.
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Between the square grid and the spiral like circulation, the structure too has no hierarchy of direction. Columns composed of four square sections interlock with beams lying on the same plane in both directions and allow for a simplicity and ease in assemblage.
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All elements slot into the principal structure, following the same regular grid. Panels of structural ply are insterted between columns, playing with the degree of openness between the spaces, concealing spaces immediately accessed and unveiling others later to come. The curved staircases, with their radius following the size of the grid detach themselves from the rigidity without becoming arbitrary.
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Reggio Emilia School, Dochester. 2017, SEMESTER 2, BACHELOR , UNIVERSITY OF BATH, INDIVIDUAL WORK.
For the Reggio Emilia educatioal movement, schools plays a role beyond children’s education - strengthening communities through projects between parents, teachers and at a grander scale towns. The intention for this project was for a building capable of hosting such an ambitious educational and community program focused on learning together through common projects. The site, a disused prison at the edge of Dorcheser contained between the old town and the water meadows, has a rich history and a varied terrain. The school becomes an oportunity to rekindle old and explore new relationships, between the indiviuduals involved, the site, and the wider community.
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The school emerges from the existing prison wall. A ramped exhibition gallery along the existing brick wall links shared atelier spaces, turning the impenetrable wall into something transparent serving as a communication and circulation device for the school. Ateliers - spaces for project development and exploration - are particular to the Reggio Emilia movement. Each individual classroom has an atelier area and pairs of classrooms share a seperate atelier space along the gallery lining the wall. Besides the gallery, the circulation consists of a series of gardens, each with a diffferent character creating varying atmospheres in the adjacent enclosed rooms. Thresholds between the school and the surrounding urban fabric become town squares.
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The same form repeats and adapts according to function, giving identity to the building yet individuality to each space - each is perceived according to its connections. Despite the permeability of the scheme, the cluster organisation of classrooms gives a feeling of enclosure. As children grow, their classrooms are located deeper within the site. It is as if their world were expanding as the become more independent. The classroom, like a miniature school, has different areas dedicated to different activities (atelier, group space, alcove, entrance, courtyard). Classrooms inherit different characters from their relationships to surrounding courtyards. Recognisable elements give a sense of safety while the varying courtyards of discovery.
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Materials meet seamlessly at thresholds, and are concealed within each other blurring the boundaries and always leading on to a space beyond. An insitu concrete structure is exposed internally. A layer of bricks cast in concrete envelopes it, tying the building back to the existing brick wall. Timber furniture and linings seamlessly integrated into the structure give a human scale to the school. 65
Ariane Lieberherr arianelieberherr@hotmail.fr