FLorian VimarD
ARCHITECTE D.E. ÉCOLE NATIONALE SUPÉRIEURE D’ARCHITECTURE DE NANTES
« L’éducation ne consiste pas à gaver, mais à donner faim. » Michel Tardy
FLORIAN VIMARD Né le 9 juillet 1985 à Caen (14) 2, rue du Maréchal de Gassion 44 100 Nantes 06 26 49 92 00 florian.vimard@gmail.com
Formation 2013 Architecte DE - diplômé avec les félicitations du jury École Nationale Supérieure d’Architecture, Nantes (44) 2011 Licence en Architecture École Nationale Supérieure d’Architecture, Nantes (44) 2007 Licence 3 « Arts Appliqués » Université Montaigne - Bordeaux III, Bordeaux (33) 2006 Licence Pro « Histoire et Patrimoine » Université de Basse-Normandie, Caen (14) 2005 BTS Design d’Espace Lycée Laplace, Caen (14) 2003 Bac STI Arts Appliqués Lycée Laplace, Caen (14)
Expériences dans les domaines 2013/14 ENET-DOLOWY - Urbanisme & Paysage / Nantes (44) CDD 10 mois (septembre 13 à juillet 14) Scenarii, ESQ, AVP, PRO sur différentes opérations, production graphique (communication, concours), faisabilités, suivi et visa de PC... 2013 Philippe LASSER - Architecte DESA / Falaise (14) Emploi saisonnier - 8 semaines (juillet-août 2013) Mise en forme de PC, DCE. Dessin 2D et 3D 2012 LA COURSIVE - SARL d’Architecture / Falaise (14) Emplois saisonniers 8 semaines (vacances hiver/été) : Esquisses, échanges avec les maîtres d’ouvrages et PC 2011 Laurent VIGNERON - Architecte / Nantes (44) Stage de suivi de chantier sur une durée de 4 mois : Réunions hebdomadaires / compte-rendus de chantier 2008/09 Philippe LASSER - Architecte DESA / Falaise (14) Dessinateur-projeteur - 15 moins (mai 08 à juillet 09) : Mise en forme de permis de construire, DCE. Dessin 2D et 3D 2006 WHARF, Centre d’Art Contemporain de BasseNormandie Hérouville-Saint-Clair (14) Stage de 6 semaines : scénographie montage d’une exposition
Compétences PhotoShop Illustrator / InDesign AutoCad
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SketchUp Artlantis 3DS max (rendu) Rhinoceros / Grasshopper
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Analyse et réponse à une demande Dialogue et discussion
Esquisse et conception Mise en forme et communication
What else ? Permis B depuis 2004 Anglais : lu, écrit, parlé (niveau courant) Espagnol : en découverte Graphisme Réalisation ponctuelle de flyers et affiches Lecture Architecture & urbanisme, sciences & littérature Amateur et collectionneur de disques vyniles Passionné par la musique jamaïcaine des années 60 à nos jours Pagayeur, moniteur fédéral de canoë-kayak (depuis 2004) Converti finalement à la natation
Modèle vivant, poses rapides Feutres sur formats divers 2009
SEVEN DOORS
With Nathan Louërat & Martin Brodu Teachers : Didier Courbot / Clément Laigle Autumn 2010
The installation sets up a system of partition of spaces questioning the sense and logic of the use of the door. Defined as an ÂŤ aperture in a wall that allowed passage Âť, the door becomes architectural structure, the transition from one space to another is made by the. Void becomes full. Questioning the meaning of the door and the foundation of architecture, Seven Doors offers a stroll, a journey rich in space experiments.
LE LOGEMENT étudiant à travers la fenêtre 90 units on « Île de Nantes » Teachers : G. Breton / L. Lagadec Spring 2010 / redesigned 2014
The approach of the project is a double issues, working in parallel. It is about working on the device «window» at the scale of a student room and an approach inked in a specific site, with its regulations. The west of the Isle of Nantes is a postindustrial area, with a living footprint of infrastructure. The project is implanted on a plot of 1370m² and composes with the existing environment to find catching points to articulate a strong urban angle. The building maximizes R+5 and relies on its direct surroundings : a wall of a ground floor, a under-face that marks a small apartment building, a height aligned with the adjoining project. Each unit is distributed by an outdoor walkway. It animates the main street when the rooms are facing south ; it returns in the heart of the plot for privacy
while the rooms are open to the rising sun on the east. At the ground floor, we find the reception, halls and public areas (home, work rooms, laundry ...) and the guardian house. Three terraces are available for students on different levels. The inherent problem with such a program lies in the repetition of a cell - Student room. How to work on the facade and its materiality to play with the multiplication of contiguous elements ? The student room is completely open on the facade : a bay divided into 3 ventails (2 fixed with a treaty with a sandblasted glass and a central sliding). To break the repetition of openings, a wooden batten cladding is divided according to usage : horizontal breezes sun in the south, vertical in the east. The issue of privacy is handled by a different sense of lathing on passageway and
housing, in order to limit the views. Elements of wood attached to metal frames oscillate the facade and build some urban vibrations. At the heart of the project as a cloister, a garden inspired by the «jardin en mouvement» of Gilles Clement establishes the necessary haven for approval, reflection, work ...
vêture : lattage bois garde-corps métallique
menuiserie 3 ventaux dont 1 coulissant central
garde-corps métallique panneau coulissant
vêture : lattage bois
Le jardin est traité en prolongement de l’espace public (trottoirs en pavés 10x10cm). A l’image du « jardin en mouvement » de Gilles Clément, le coeur végétal est laissé libre et se développe au rythme seul du temps. Central comme au cloître, ce lieu poétique créé le vacuum qui apporte à l’univers étudiant le calme et le rapport à la nature et à la vie.
RDC
R+3
ARCHITECTURE VILLE Mobilité Parking (200 pl) + programmes connexes (salle de musique et studios de répétition, auditorium) Teachers : G. Breton / P. Barré / J-F. Renaud / V. Didelon Autumn 2011
The project is implanted in the heart of a complex intersection. Its dual aim is to respond first to a territory composed with multiple and various mouvements, assuming the place of pedestrians, and set activity in the heart of business mobility. It’s a real traffic node between the mall and the Busway station, between the homes and offices, between Boulevard de Gaulle and the railway line that the project develops. It offers, in a dense environment, to affirm the tram-train station by vacuum. The infrastructure provides parking for 200 cars, organized in a bar, remote from the boulevard. This bar is seen pierced by the railway line, and obvious privileged place of the tram-train station. On either side of this confrontation are the parking lots in the south, and a music-related equipment (rehearsal rooms, studios, auditorium) in the north part.
The building then highlights the parallel promenade to the boulevard that will link the supermarket to the basins further north. Working with a simple and rigorous geometry, it plays a structural role of a disjointed territory. In the aim to fix the position of humans in this passage environment, the public square is duged and under the north square, slides a new music room, with a capacity of 600 people. The confrontation of different thicknesses of the site and the treatment of outdoor spaces offer a set of balconies, views of the various activities that can accommodate these places (open-air performance, concert, market, ...)
EPICENTRE
Médiathèque Île de Nantes (MIDN’Height) Teachers : Gaëlle Breton / Jean-François Renaud / Gilles Bienvenu Spring 2011
Photomontage : intentions et ambiances - lire / ĂŠcrire / stocker
The project is implanted on a triangular plot, resulting in a raster charismatic and rigorous planning, thwarted by former Industrial Boulevard. Thus, at the Broadway image, confrontation of streets creates a unique plot. As the Flat Iron Building in NYC, and on the same proportions, the project proposes a tower 87 meters, signal the Isle of Nantes. The library is part of a range between the maximum and average heights induced by regulation. This ensures spaces with stunning views over the rooftops, and the city offers an underside, negative high points, catching the public program across the district. The library wraps, curls up on itself, first giving a view of the interior of the building, then radiates and opens to the city. All three trays set up a system of divisions
heights. Storing books are made in single heights, confined, while most generous spaces are available for reading and writing.
documentation 350 m²
reprographie 40 m²
« trésor » fond particulier 200 m²
R+6 +24.00
fiction 220 m² salle animation 120 m²
circulation interne à la médiathèque
audio / vidéo 40 m²
musique / cinéma 200 m²
R+5 +20.00
administration 220 m² hall / exposition 120 m² wc accueil espace de travail 150 m²
adolescents 150 m²
presse / périodique 80 m²
R+4 +16.00
enfants 150 m²
DENSITY IS HOME ?
320 logements à Clichy-la-Garenne (92) 150 chambres étudiantes / 100 studio FJT / 70 logements sociaux Enseignants : Louis Paillard / Éthel Buisson Automne 2011
The project proposes to voltage a disjointed urban environement. The challenge is to structure the plot and reveal the site, creating a new piece of city. The program is split into its three entities. The student residence and home to ÂŤ young workers Âť with limited time frames, are embodied in two buildings ; social housing is split up into 2 buildings, gentler scales. The 4 buildings will then articulate to hold this land : the CROUS residence shall keep the street Georges Boisseau, and echoes the FJT that affirms the boundary of the
plot facing the cemetery. Between these two milestones, the 70 social housing setting up in 2 buildings, the templates are the result of complex sets of land use regulations, prospects, setbacks, and a rule of at least 6 meters between buildings that we set. The buildings are worked as steles that cling to each boundary of the parcel. Not having no limits neither parallel nor perpendicular, this approach allows slight shifts between the buildings. New reports will then establish, without front or too brutal confrontations. Locating in different geometries, these biased
reports then offer biased perspectives, and play on fields depths that give depth desired site. The buildings are treated in different materiality, and energize sets of windows and facades give character to this piece of extremely dense city.
SUPERAMA
Plateform designed and realised on «Le Voyage à Nantes» festival Team : E. Chauviteau, E. Danais, M. Deck-Roussel, A. De Rougé, C. Dussart, T. Faussurier, T. Gallier, V. Héraud, E. Lapeyre and G. Le Bihan Teachers : Michel Bertreux / Francis Miguet / Michel Dudon Ingeneers : MECA / Samuel Durand / Émilien Billaudeau November 2011 - June 2012
The ÂŤ Quai de la Fosse Âť offers to the Loire a large building front made of mansions of the eighteenth century. In the erected barrier, a flaw. The street Ancin, 1,70m wide, pierces between two houses a narrow crack. Through this gap between two houses Superama diffuses into the city. Compressed in the alley, the air flow is embodied in an explosion of polycarbonate boards that springs up from the flaw afford to town with strength and poetry. Simple and complex, Superama unfolds in the air a tubular steel structure, which brings the visitor to 7m above the ground, and the plans to nearly 8m facade, in the void.
A steel ellipses succession escape from the structure of the scaffolding in the street of Ancin, and are spread over the city. Structure escape some 600 threaded rods that stabilize in space 400 polycarbonate plates. The brightness of the plates, their overlapping and their various positions vibrate and capture light, reflections, and the atmosphere of the sky and the city. Inside, between opacity and translucency, many degrees of transparency argue a disturbing universe.
De la main Ă la souris et vice-versa
Moeurs
Ralliement
Biologique
Profane
LE MÊME & L’AUTRE
Information
Teachers : Toufik Hammoudi / Jean Lévêque Spring 2013
Adaptation
Ce qui nomme roi
Préceptes Géologique
team Antoine Allain-Dupré Jean-François Caoki David Chadeuf Paul Chenneberg Muriel Cupif Pauline Dilé Marc-Antoine Elie Anaïs Jacquard Charlène Lefeuvre Julie Milovanovic Thomas Rouillon Natalya Yankovska
Adoration
Culture
Développement
Ressource Politique
Matière organisée
Jurisprudence
Circonstance
Filiation Nutrition Mouvements
Cycle
Quirinus Distribution
Formes physiques
Institutions
Place d'échange Action de produire
Tectonique Schisme
Société Singularité
Composition Le territorialisé
Renouvellement
Formes culturelles
Déplacement
Artefact
Etalonnage
Production en série
Adhésion
Pari Cataclysme
Echange
Conservatisme
M
Réel
Jupiter Décomposition
Militance
Mars Souveraineté
Exogenèse Règle
Catastrophe Présevation
Mythe
Allégeance
Valeur
Enseignement
Sacré
Militaire Tendances Hypothèse
Leg Equipement
Ce qui fait roi Climatique
Contestation
Planification
Sur-mesure Dogme
Régénération Artisanat
Edifications
Hérésie
Prototype
Rupture
Hérédité
Doctrine
Endogenèse Production
Format
Archive Particularisme
Biocénose
Le déterritorialisé
Etat
Réforme
Civil
Géodynamique externe Géodynamique interne Administration
Bio
Trajectoire
Expérience
Art
Milieu
Etablissement
Régulation
Gouvernance
Savoir
Liker
Culte
Normes Codes
ts
Modes
Discontinuité
Croyance
Extinction
Formes anthropologiques
Conformisme Stratification
Rite
Alliance
abstrait
concret
Réel ARBORESCENCE élaboration d’un modèle abstrait : système de décomposition du réel, grille de lecture de la multiplicité des phénomènes et de la complexité du monde
Cartographie abstraite dresser une liste de cartographies : traductions graphiques des phénomènes à considérer pour appréhender un territoire
Cartographie concrète instanciation de la cartographie abstraite : application du modèle à notre cas d’étude
tabulations Plan de coupe sur l’arborescence : mise en évidence des relations et pistes de croisements des cartes
Stratigraphie appréhender les relations : croisements des cartes pour dévoiler les formes structurales du territoire
formes structurales structures abstraites qui sous-tendent le territoire : révéler les singularités
singularités définir les singularités du territoire : observer pour agir avec les formes présentes
potentialités lire le récit du territoire pour déceler les possibilités de développement du territoire et les potentiels de projet
délibération citoyenne présentation des Potentiels et propositions dans une démarche claire et transparente vers des choix éclairés
morphogenèse territoriale, urbaine et architecturale
The hypothesis of the morpholab lies on the opportunity to design from the forms in attendance. By «forms», beyond the «shape» understanding, we suggest to deal whith relationships, structures and organizations. For this, the project aims to build a model that questions the project process : establishing a methodology for a new approach to urban and architectural design. This approach is driven by a case study : Lisbon. Work with the context : build a machine to describe the « real » and to work with it. In a multidisciplinary approach, through the description of the territory, the methodology tends to reveal the structural forms of the territory and its peculiarities. Thus the observation and description of the area give us the forms to define the potential and build the project. In a society - analyzed as mimetic device by Gabriel Tarde - where the application an repetition of models - receipts and references - orchestrated by urban and territorial marketing, in the heart of the « generic city » which tends to make the same territories, the morphological approach tends to develop the project and the territory from its singularities. Through a tisssu of intrinsic and extrinsic relations in the era of open source phenomena of big data, and thus open data, the territory can be observed and described very precisely. Towards completeness, the abstract model intends to consider all the issues and problems that cocerne architecture and urban planning, in fine. In all disciplines, the data visualisatin occcupe a privileged area of research. All fields formalize. Data can take forms, the architect works with forms. In this sense, we question a new approach and a new definition of the designer.
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FC_PT_PAYS_HOTELS FC_PT_PAYS_MOTELS FC_PT_PAYS_RESTAURANTS FC_PT_VILLE_APPART_HOTELS FC_PT_VILLE_HOTELS_2/3/4/5_ETOILES FC_PT_VILLE_AUBERGES JEUNESSE FC_PT_PAYS_CAMPINGS FC_PT_VILLE_CAMPINGS FC_PT_PAYS_REFUGES FC_PT_VILLE_PENSIONS FC_PT_PAYS_MEMORIAUX FC_PT_PAYS_MIRADORS FC_PT_PAYS_OFFICES_TOURISME FC_PT_VILLE_OFFICES TOURISME FC_PT_VILLE_VESTIGES_ARQUEO FC_PT_PAYS_SITES_CLASSES_UNESCO FC_PL_VILLE_NIVEAUX ARCHEO FC_LN_VILLE_MONUMENTS ARCHEO FC_PT_PAYS_CHATEAUX FC_PT_PAYS_RUINES FC_PT_VILLE_COMPAGNIES AERIENNES FC_PT_VILLE_OFFICES_TOURISME FC_PT_VILLE_STATUES FC_PT_PAYS_AMBASSADES FC_PT_VILLE_AMBASSADES FC_PT_PAYS_DEC_ADM_LIEUX FC_PL_VILLE_AIRES_DE_JEUX FC_PT_VILLE_AIRES JEUX FC_PL_VILLE_ESPACES_VERTS FC_PL_VILLE_PARCS_ET_JARDINS FC_PT_PAYS_PLAGES FC_PL_VILLE_BORDS DE RIVE
mĂŠmoire de master
The mythology around Louis Kahn tells that in his childhood, around the age of 3, he was so attracted to the light and the flames emerging from the coals on the stove that he could not prevent it in approach. The temptation to seize this energy left only severe burns... With the stigma of that accident and serious marks on the face, it is certain that the light plays a central role in the research of the architect. In the manner of Icarus - son of the architect Daedalus - which burned the wings trying to reach the sun, this experience surely participates on the Louis Kahn charisma and character. This is certainly a good way to feed the story of an architect research always guided by the concern of natural light through a real ambition to give birth to an architectural expression worthy of the twentieth century. The context of the question is an important factor to identify the character. Thus, this adventure takes me to review the architectural practice of the entire twentieth century (achievements,
projects, exhibitions, theories, manifestos and influences ...). Situate the architect in the nebula of his peers is an important parameter to understand the work of Kahn. In the same way, it is interesting to perceive the evolution of the thoughts of Kahn through its projects and writings. The aim of this work is finally double for me. At first, I tried to see, read and understand the practice of American architect. Enter the working of a mechanical dense and complex way to design, in which the protagonist created its own vocabulary, its own redefined notions, and develops a real way of life, way of making architecture. Secondly, it is an axis more personal reflection on the question position itself as an architect in 2013 ... This work entitled ÂŤThe lesson of the past, the modern distanceÂť is a reinterpretation of the practice of the American architect Louis Kahn through the Exeter Library. It is above all a pretext to enter the Kahn approach, through a landmark achievement and conferences, courses, writings and testimonies of
employees. It is also a larger questioning on the position of an architect, thoughts and deeds, meaning of architecture. How can we define it in relation to his contemporaries? To modernity? What relationship does he have with the story, with a kind of tradition of his ultimately very French training, withthe temporality?
Expériences personnelles EXPLORATIONS COMPETITIONS
Individual house 120m² project for a couple Conception > Permis de construire Spring 2010
The order is for a small house of 120m² for a young couple. This first independent experience helped me to confront real owners, with real regulations and budgetary constraints, and to complete a project.
habitat collectif : 12 logements Projet abordĂŠ en agence EtĂŠ 2013
Project I worked on at the Philippe LASSER office (temporary position in 2013). It is a 12-unit program, divided into six T3 and sic T4, and an activity floor ground. On the plot of 1400m², located at an angle, the project sets up highlighting the two streets. The ground floor stands the basis in an L shape. The accommodations are spread over three levels, in a volume following the main street. R-1, parking is accessible from the bottom plot street thanks to the site original topography. All appartments are double-oriented, distributed by two entrance halls. To the east, on the street, the rooms have shutters that close completely the facade, that becomes completely blind to bedtime. In the West, living rooms are wide opened. All T4 feature a loggia.
GHOST TOWN CHALLENGE Karosta Cultural Center, Liepaja, Lettonie with Adnane El Younsi + Nathan LouĂŤrat Winter 2013
You can read the former military town like a vast flat expanse, like lying on a slab. The buildings located on orthogonal frames develop a system of barriers - physical and visual. At the heart of this system, a radiant object, St Nicholas cathedral. The project aims to reveal the site and to give it to see. The project appropriates the vocabulary, the orthogonal cutting and stips system on the site, and develops from this basis a new topography to reveal the structure of the built environment. The program is divided into two part, separated strips that mark the streets to the east and west of the plot oriented towards the cathedral. The 200 parking spaces are buried under a generous public space that lifts the view. The cultural center says the West angle, and offers a view of the cathedral. Between them, a vast public space, also split into two entities: a mineral place and slender plant. Built in a narrow band stands the cultural center : library, art center, exhibition hall, auditorium ... These emerging stratas of the ground are covered with perforated aluminum panels that allow you to vary the interior lighting scenes as required and use.
Habillage des points de mutualsation de la fibre Appel Ă idĂŠes MANCHE NUMĂŠrique Avec Adnane El Younsi Printemps 2014
The response to this call for ideas was born from two observations : the paradox of material emergence for a network connection and virtual data. At first, the distribution points indicates the presence of an underlying communication network ; but this is very concrete and securely attached to the territory by the same set of roots and connections. The project is developped from this dual challenge, on the duality of two approaches to the subject. First the concentration point emerges from a perennial network. Just like a plant connection, it is covered with a light and vibrant dress, made of hundreds of cilia that oscillate in the wind. This is its material dimension. The cladding protects a heart just as intense (how many millions of gigabytes
of data?). It is by the light material that is expressed the project. The shelter becomes a lantern, composed of perforated panels. Then you can play a pattern and decline, an impressionist canvas, or to display the logo of this emergence that becomes a communication medium for the movement start of the internet everywhere, for everyone. It is therefore by the double set of light, radiating from a center and diffusing through the eyelashes, the distribution points are brought to cover and punctuate the territory. - Structure wood - Perforated wood panels - Transparent PVC tube - 1cm diameter
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The traveler gets off the train. He arrives in Detroit for a business meeting. The monumentality of the station from the early 20th century shows his stability and posture. The heavy facade made of brick walls is punctuated by metallic emergences growing from the original iron bones. Three abstract squares and a new coping are exhibited to the traveler. These thin and light elements are working through the weight and the thickness of the building. The elegant pieces highlight and underline the structure of the old station. Poetry arises from the tight relationships between the old and the new. The late lights are playing with volumes and materials and offer by contrasts a respectful link. The 4 emergences are resonnning with the programmatic rebirth of the central station : workshops for artists, exhibition areas, a conference center including a large auditorium, and some housing units (residences and hotel rooms). The lightning boxes reveal the inside uses. The traveler can imagine the hive of activity that reigns behind and aroud the strong walls, in
the thickness, in the heart of the building. First he get down under the railway before emerging in the first hall, where he can spend several minutes to walk through the temporary exhibition. Deeper in the station, the height of the historical ceiling lets the traveler hear the sound of the restaurant on the left. There he could later enjoy dinner on the refurbished original rooms. On the right, the main lobby, information center and shops. Then reaching the main entrance, in the large hall takes place an other exhibition. Here the traveler meet his client. The traverler is a painter. Or a photographer or a film director. Maybe a dancer or a graphic designer. From the lobby, he is led to his apartment that takes place in one of the wing of the station. Once he left his luggage, he can enter the heart of the factory. The principal body of the building is empty. The entire floor is an open and free space, inhabited by a forest of posts and beams that let the light slipped from one facade to another. To favor the unchanging north light, the south elevation
DEtroit station For thE arts Competition, Rehabilitation of the Detroit Central Station March 2015
DSFA detroit station for the arts
comes unstuck from the floors. The void creates an atrium, a link between the different workshops levels. Except this space managed between the wall and the floor, nothing have been done in the interiror. Here stands the original spirit of the famous abandonned building. Here and there some artists set their working units and share the plateau that is put in tension between the thick facades. The only element actually built is the common atelier : one emmergence fitted and working as a factory. This is the first step, the traveler will start working to create his own working space, then he could also do some big scale works. There are 2 common ateliers, with various heights. The fault along the south facade is fitted with a gantry crane that allows moving works from the common spaces to individual ateliers or exhibition rooms. During the residence of several weeks, artists can work night and day. This time will end and be concluded by an exhibition in one of the rooms or halls of the station.
The traverler is fascinated by arts. He comes this weekend to visit an old friend, a photographer. Off the train, he walks through the exhibitions before he can get the keys of his room. The hotel stands on top of the station and gives to the room incredible views on Detroit. The room is also playing with thcikness : the duplex offers a room extended from one side of the building
to another. Put in a distance from the facades, the metallic filters play with lights and the sky. At the foot of the hotel, the bar takes place in the never-used upper floor of the original station. Resonning with this historical use, the level stays empty. It’s a large terrasse in the open air, thought as a public space, open to everyone. The structure of the building is
exposed and revealed : posts and beams, heavy facades. The bar is open, on the outside stand happenings and exhibitions. The traveler reach the atelier to meet his old friend. Then they can spend some times in the common space of the large workshop to discuss his work and exhibition to come.
hotel rooms
bar / terrasse
exhibition area
auditorium
atelier
gallery
main entrance / exhibition area
work Experiences
REHABILITATION OF A BARN INTO HOUSE Agence LA COURSIVE, Falaise (14) Summer 2012
The project resides in the rehabilitation of a barn into a house. The openings are retained, spatiality is organized around a void that stands between two existing shear walls. On the ground floor, the entrance offers a generous exhibition space, which then leads to two bedrooms, water room and a workshop. The void offers a wall, like a curtain, that structures scenography. Behind this wall are the stairs, to access the living areas. Revolving around this screen, the staircase leading to a small passageway that connects the kitchen area / dining room and lounge / library. Upstairs space is crossing. The library, sanitary and kitchen are part of a maid band on the back of the screen. The living space standing on the R+1, a platform extends this ÂŤservant stripÂť outside to offer a large terrace
distributed by the kitchen / dining room. On this project, I developed the sketch, and follow up the project permit application autonomously. I realized the graphic parts (plans, sections, perspectives) and participated in the meeting and presentation to the client.
INDIVIDUAL HOUSE EXTENSION Agence LA COURSIVE, Falaise (14) Summer 2012
This project is about the extension of a single house. The house is made of two volumes, the project does not break with the rhythm of the existing, and is added to the template, like stretching the pinion. It’s in its materiality that the former / contemporary differentiation is embodied. The command plans to create an entry for the house, a staircase to the first floor, plus a garage and a workshop. Extending the template of the
house, the extension offers a metal skin that surrounds the volume created. This cladding is raised to give the north entrance and the door to the parking lot. To the south, it crumbles into stripes to protect the facade. In this space stands a corridor served by the workshop in the R+1. Upstairs, there is a new access to existing rooms, and a placeholder for a possible future bathroom (not requested in the original program).
On this project, I developed the sketch, and follow up the project permit application autonomously. I realized the graphic parts (plans, sections, perspectives) and participated in the meeting and presentations to the client.
ENET-DOLOWY
Urbanisme et Paysage During the last 2 years in the atelier, with a dozen architects and landscapers, I had the opportunity to work on many project approaches : scenarios, sketch, feasibility, and graphic production (plans, sections, perspective, graphics regulations ...) on a dozen projects and some competitions. This is mainly housing project, some sectors and urban renewal.
GRAPHICS DESIGN Selection of posters
madrid /2015
berlin /2013
ROMA /2010
san sebastian /2014
porto /201
santiago de compostela /2015
cascais /2013
BRAGA /2010
PORTO /2010
liboa /2013
FLORIAN VIMARD architecte d. e.
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florian.vimard@gmail.com
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