Workvolume Johan Metzger 2018-2019

WORKVOLUME

2018-2019.johan metzger application for the Bartlett MArch 2020 programme

WORKVOLUME Unless otherwise specified, all the documents making up this portfolio, photographs, models, images and texts have been created by myself over the last two years.

2018-2019.johan metzger

For confidentiality reasons, some of projects realized in agency are not included.

ARCHITECTURE FILMMAKING PHOTOGRAPHY CODING ROBOTICS render writing drawing image video

FICTIONS

URBAN SCENARIOS

grand heterotopia

plastic pipes

parliament 2050

former priests

digital stone

pistils or bones

nees in the 21 century

tableaux vivants

the beast

BIO-MIMICRY

CODE

CRAFTS

MYTHS, LITERATURE AND ROMANCE TYPOLOGIES A cold winter sun was falling on the ideal farm, over the tall thorn trees. The wooden gate in front of the farmhouse opened, and a man entered, presumably an old man, walking at a slow pace, weighed down by the weight of his books. The man, leaving the gate ajar, entered the building. Between the debris and the pieces of ceiling he found a corner to sit on. And like every day, he opened his bag slowly and began some of his favorite literary classics.

His heterotopia was Charles Cros, Boris Vian or Balzac. So the man who was set up that way was in a constant face-to-face situation. Between, on the one hand, what was above, materially perceptible: the loss of the identity of a modernist villa, and on the other hand, below, a superpopistion of elements from his imagination as he reads. The temporal displacement by the imagination leads to a superimposition of meanings, constituting a new fantasized space.

grand heterotopia AUTUMN - WINTER 2019 UNIT HTC - HISTORY, THEORY AND CRITICISM TEACHERS IWAN STRAUVEN, WOUTER VAN ACKER, ANNE-LAURE IGER, VICTOIRE CHANCEL SIZE 10 500 SM

At the time, we probably did not perceive all the importance or all the consequences in the daily environment of what Michel Foucault, in his Algiers conference in 1967, pompously and rather jargonically called «heterotopias».

By this appellation of heterotopias, which some people were quick to sum up as concrete utopian spaces, Michel Foucault meant that not only did humans aspire to «interstitial places that escape the dictatorship of the market», but also that humans, considered above all in their imaginative dimension, needed aesthetics that were based more on beauty or a change of scenery than on functionalism or reason.

The first lever for judging the heterotopic quality of a place is therefore its capacity to house the imaginary. At the margin, this type of place maintains an ambiguous relationship with reality. As escape routes, these other spaces break away from the commonly established relationship of time to enter into a temporality of their own.

Heterotopia proposes several spatial articulations in a single real place: notably through mental projection leading to a new space. Thus, heterotopias make time and epochs, spaces and geographies coexist.

FICTIONS GRAND HETEROTOPIA

11.small wooden ladders jules verne

11

10.the trace of the reptile gustave flaubert

10

9.a steel madness welcomes you edward hollis

9

8.between stairs and artery georges duhamel

8

7

6

6.room or fair? henri michaux

7.in front of the bed, a cave antoine volodine

5

5.gothic-oriental and neon lights bruce bĂŠgout

4

4.circular room with green stove nathalie sarraute

3

3.useless symmetries and hermes jorge luis borges

2

2.dispense with prodigality francis ponge

1

1.from the entry to the magic enclosure edgar allan poe

PLAN

FICTIONS GRAND HETEROTOPIA

AXONOMETRY OF THE MAIN ELEMENTS

FICTIONS GRAND HETEROTOPIA

1

2

3

EST ELEVATION VISUALS 1.entry 2.entry to staircase 3.stairs 4.hermes 5.politic area 6.red carpet 7.hotel bedroom 8.dinning area 9.restaurant choo-choo

4

7

5

6

8

9

15

SECTION

1

3 2

1

2

VISUALS 1.gothic-oriental restaurant and neon lights 2.stairs as an artery 3.entry and stell madness

3

FICTIONS CATEGORIE TITRE PROJET GRAND HETEROTOPIA

SANITIZE, REVEAL, CLARIFY: TRYPTIC OF THE PROJECT

Every second, one hundred tonnes of the four billion tonnes of waste produced annually end up in the sea, much of it plastic. Eighty percent of the waste at sea comes from land: household waste, poorly collected, poorly recycled or abandoned in the wild.

The proposed project has two ambitions.

Firstly, as human negligence is the main cause of contamination of the marine environment, it seemed fundamental to us to think of a place dedicated to raising awareness of the disastrous effects caused by marine debris.

Secondly, we would like to offer spaces dedicated to sharing knowledge about solutions for cleaning up the seas and oceans. The laboratories will promote the complementarity of scientific disciplines.

plastic pipes AUTUMN 2018 AWARD NOMINATED IN THE COMPETITION JACQUES ROUGERIE, CATEGORY : FLOATING CONSTRUCTIONS IN ASSOCIATION LORRAINE DAVY SIZE 2 560 SM

The whole forms an autonomous semisubmerged architectural object that is intended to be mobile and thus find its prosperity through a route passing through several dozen ports around the world.

The pavilion is born from the sea, it participates in cleaning it, revealing it and clarifying it: three verbs that make up the programmatic triptych. The experience lived in the pavilion draws its strength from the use of tubes that find their uses according to their respective and vertical levels.

In depth, the tubes will suck up and scan the plastic waste in order to process it on the surface.

Semi-submerged, the water will circulate freely in order to reveal the richness of the marine fauna and flora.

This architectural approach is not only justified by the structural strategy put in place, but above all allows us to highlight the ocean environment and treatment solutions. The sequence of tubes, which may recall certain traditional claddings, also allows the visual definition of frames, conducive to learning, research and contemplation.

The tubes have a patina that will bear the mark of time and salt. In the design of the pavilion, light becomes a material in its own right, which interacts with the scenography of the place, with the purification spaces and the research laboratories.

The wide field of intervention of this project, invites to innovate by favouring the possibility of experimentation in order to achieve an eco-green cycle.

FICTIONS PLASTIC PIPES

AXONOMETRY OF THE MAIN ELEMENTS

FICTIONS PLASTIC PIPES

UPPER LEVEL 1.entry and bookshop 2.cloakroom 3. videos from petrol to plastic 4. endangered species holograms 5. VR immersion in the 7th continent 6.seaweed restaurant 7.outdoor area

4 7

1 2

3

6

5

FICTIONS PLASTIC PIPES

ARTICULATION RESEARCH

LOWER LEVEL 1.interactive videos from experts 2.research lab 3.algae in micro-fuel 4.lecture area 5.interactive lab 6.micro-algae in biofuel 7.turtle clinic

3

1

2

4

7

5 6

The Mutation studio studies the development and transformations of western urban centres by reflecting on their densification.

In order to respond to the problem of the «Living Democracy» competition, the decision was to focus on the Brussels context and to analyse its parliament in order to establish an in-situ strategy. In the light of the analysis of the Brussels Parliament, it appears that citizen participation is reduced there.

On the basis of this observation, the ideal democracy would be one that integrates the citizen at all critical stages of the legislative process.

The implementation and programming of the proposed democratic system, based on citizen inclusion in the current political system, must meet these requirements. The stakes are high because it is a matter of creating the space for new bodies and rethinking existing bodies as places that are accessible and open to all.

parliament 2050 SUMMER 2018

UNIT MUTATION TEACHERS MAUD DE RIJCK SYLVIE BURGEON SIZE 10 500 SM

AWARD WORK NOMINATED FOR THE BEST STUDENT PROJECT OF THE YEAR 2019

The Parliament of 2048 must be a first milestone in the process of sustainable and reasoned integration of the citizen into the political life of Brussels. These programmatic additions and this opening to the citizen reflect a fundamental need; an open space, accessible to all, in connection with a green and public area within the city of Brussels.

The Citizen’s Forum also articulates a series of sub-space areas necessary for its primary function as a citizen’s meeting place and as an open and public space.

The project is therefore located on the edge of the Royal Park of Brussels, opposite the Royal Palace.

In this way, the future parliament is integrated into the urban context. Its functions can be connected to the public space and express our desire to offer a status similar to that of the palace.

One of the strong decisions of the project is to locate the Citizen’s Forum in the heart of the Royal Park. Benefiting from high mobility thanks to its proximity to the Central Station, the «park» Metro, and numerous bus and tram lines, the location seems ideal to meet the need for accessibility and openness for the public.

URBAN SCENARIOS PARLIAMENT 2050

Atout Au coeur des institutions politiques existantes Eglis

e Sa

inte

Parle

Atout Centre culturel de Bruxelles

- Gu

dule

Atout Large espace vert

men

t Wa

llonie

- Bru

Faiblesse Présence d’un tracé architectural majeur

xelle

s

BOZ

AR

Gare

Atout Excellente accessibilité Cen

trale

Ban

que

Cou

r con

stitu

Mus

ées

Pala

Nati

onale

de B

elgiq

roya

tionn

ux d

elle

es B

Parle

ue

men

eaux

-Arts

t flam

and

is R

oyal Mais

on d

es p

Cha

arlem

mbr

s pa

Thé

âtre

ires

rticip

ants

Roy

al du

Parc

Faiblesse Pollution sonore liée au trafic automobile

enta

e de

Parc

de B

ruxe

lles

Menace Perturber la mobilité qui emprunte l’axe

Mais

on d

Atout Forts liens spatiaux, fonctionnels et symboliques

Menace S’inscrire trop en dualité avec le Palais Royal

Faiblesse

u pr

Pala

emie

Faible capacité d’accueil d’un tel programme

is de

Opportunité Valoriser le patrimoine aux alentours Opportunité Recyclage radical d’une surface importante et occupée par un parking

Menace Etouffer la Place des Palais

r min

Atout Site à forte fréquentation et attractivité

Atout Présence du Parlement flamand à proximité

s Ac

istre

adém

ies

URBAN SCENARIOS PARLIAMENT 2050

parc

xvth century presence of the brussels rampart

parc

711 coundenberg palace extension

DEVELOPMENT OF THE ROYAL DISTRICT IN BRUSSELS

1777 outline of the main axes

1783 construction of the royal palace

URBAN SCENARIOS PARLIAMENT 2050

CREATION PROCESS 1.fit in with the place des palais and create the entities 2.mount the volumes of 10m 3.addition of a floor cutting the entities in half 4.floor holes for floor-to-floor interactions

1

2

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4

URBAN SCENARIOS PARLIAMENT 2050

ROOF

FIRST LEVEL

AXONOMETRY

8

FLOOR LEVEL 1.hemicycle 2.cloakrooms 3.lunchroom 4.administrative offices 5.entry

6.staircase 7.citizenship formation 8.debating chamber 9.parliamentary area

6 7 9

4

3

2

1

5

URBAN SCENARIOS PARLIAMENT 2050

DEMOCRACY THROUGH NEW SPATIALITIES

1

1.modular bleachers for citizen participation 2.informal places for reading and debate 3.information spaces, interactive panels and exhibition modules 4. removable walls that can be adapted to suit different uses 5. panels that make meetings more intimate

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3

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5

URBAN SCENARIOS PARLIAMENT 2050

CONCEPT OF THE CITIZEN FORUM 1.analysis of current flows around the fountain 2.circulation spaces 3.flat overhead spaces for speaking 4.positioning of fixed seating 5.addition of configurable furniture 6. final plan

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CONTEMPORARY VOLUMES TO ENHANCE A HISTORICAL CONTEXT Compose with the cathedral, the remarkable arts district, the buildings, but also the emblematic fragments in order to create a place open to the city, an intersection between the urban and the sacred, a space for encounters, experiments and creations, a place of possibilities to offer.

The hotel of the former priests is a rich heritage site - notably thanks to its proximity to the Gothic and Romanesque cathedral of Notre-Dame de Tournai - but also complex, due to multiple demolitions, transformations and reconstructions over time. This complexity is expressed by the presence of buildings erected at different times, each with its own distinct levels and entrances.

The challenge of the future Smart Center will be to regain the cohesion lost during the reconstructions, while keeping the essence of the place and the traces of its past.

former priests SPRNG 2018

TYPE COMPETITION - INTERNSHIP IN ATELIER MA2

SIZE 6 500 SM

The main objectives of this rehabilitation project will be to re-establish a coherence between new and existing spaces and a legibility of the project thanks to a fluid and evident circulation.

The only solution to the problem of lack of space will be the construction of a new element. This new volume will be inserted between the courtyard and the old archives building. It fits into the existing plot of land in a fair and obvious manner, allowing only a few contemporary elements to be seen from the outside. This new building makes it possible to reconnect the four main buildings to each other and to determine a main entrance to the exhibition areas.

It is a question here of setting up an intuitive circulation which will allow the connection between the different bodies of the building. This circulation takes the form of a large staircase between the archive building and the new building, allowing all the functions of the building to be reached.

We must keep an attention to the collective memory by putting in place contemporary volumes that care for and enhance the existing historical context.

URBAN SCENARIOS FORMER PRIESTS

HISTORICAL APPROACH TO THE SITE OF TOURNAI

XVII century location of the romanesque cathedral and the first romanesque cloister

XIII century gothic extension of the cathedral and modification of the Romanesque cloister

XVIII century disappearance of the cloister and construction of the parish chapel

XX century destruction of the chapel during the bombing in 1940

URBAN SCENARIOS FORMER PRIESTS

SITE’S IDENTITY

BUILDING AN ARCHITECTURAL COHERENCE

URBAN SCENARIOS FORMER PRIESTS

GROUND FLOOR

BASEMENT FLOOR

SECOND BASEMENT FLOOR

URBAN SCENARIOS FORMER PRIESTS

THIRD FLOOR

SECOND FLOOR

FIRST FLOOR

URBAN SCENARIOS FORMER PRIESTS

3 1

2

SECTION AA

URBAN SCENARIOS FORMER PRIESTS

A HYBRID RESEARCH ON STONE CUTTING

If natural stone has survived through the ages and styles, the size of the stone has disappeared with the construction of the last cathedrals. It may well come back to the forefront thanks to robots. Digital Stone Architecture is the result of five months of research work from Hainaut to Libramont.

Only the encounter with the architectural heritage of past centuries reminds us of the role of stone in humanity. This material has always kept pace with the human pace and will, in the course of evolution, allow us to rise from the cave to the most prestigious buildings. However, the adoption of new construction techniques for the «modern city» has resulted in our emancipation from the plastic qualities of several natural materials, including stone.

digital stone architecture SUMMER 2019

UNIT DFS - DIGITAL FABRICATION STUDIO TEACHERS DAVID ERKAN AWARD WORK NOMINATED FOR THE BEST STUDENT PROJECT OF THE YEAR 2019

As stone cutting is a laborious manual task, it has cost the city, over the last fifty years, a notable architectural disinterest, which led to the birth of the Digital Stone Architecture project in February 2019.

Combining Belgium’s geological wealth with advanced manufacturing technology is the essential challenge. If stone can play the card of classicism, it is brought here to innovate and create avantgarde architecture. Between bio-mimicry and digital revolution, stone is therefore part of the 21st century.

The ambition is to re-inscribe cut stone in contemporary architecture thanks to new tools resulting from the digital revolution. The Digital Stone Architecture project is driven by three areas of research: the history of stone cutting and extraction techniques, the emergence of new forms through 3D experimentation and the potential of versatile digital tools, such as robots, to transform stone.

The column was chosen as the first architectural element to be realized because it is a structural element that gives rhythm to the history of architecture. In order to rewrite its morphology, which has changed little in almost a century, the column imagined for the project echoes the plants by presenting sinuous organic lines that blend with a futuristic look. This hybrid stylistic research revives an almost ornamental architecture and brings to light a bio-mimetic vision.

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416

299

25 1

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CONTINENTAL DRIFT

GEOLOGICAL TIMESCALE

488

Ar che an

c a Tri Pe rm

species extinction

Ordo v ic i a

Jurassic

199

million years

542

Mes o zoi

145

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rozoic Prote

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Pal eog ene

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ernary Quat

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BIOMIMICRY DIGITAL STONE ARCHITECTURE

BIOMIMICRY DIGITAL STONE ARCHITECTURE

MORPHOLOGICAL EVOLUTION 1.organic vein column based on the boxed column 2.reinterpretation of the salomonic column 1

GRASSHOPPER NODES FOR (2)

2

BIOMIMICRY DIGITAL STONE ARCHITECTURE

PVector start; PVector end; KochLine(PVector a, PVector b) { start = a.get(); end = b.get(); } 3D PRINTING, SCALE 1/2

EVOLUTION OF FORMS WITH FRACTAL CODE }

3D PRINTING FOR WORK WITH ALPHACAM

void display() { stroke(0); line(start.x, start.y, end.x, end.y); }

BIOMIMICRY DIGITAL STONE ARCHITECTURE

FLOWER PISTILS OR LARGE MAMMAL BONES

Pistils is the story of four aluminium feet, surprisingly light and bright. The prototype individual sofa has a white woollen seat attached to four extruded aluminium legs. The inside of the seat is made of poplar plywood and supported by an invisible structure of two metal tubes.

The aluminium is therefore fitted to the woollen seat, without any apparent attachment, for a very sober effect.

Only two screws are required.

pistils or bones AUTUMN 2019

The extruded metal legs are based on the technology used in the aerospace industry, allowing curves and counter-curves to evoke the pistils of flowers or the large bones of prehistoric mammals. This forms the code for a design that goes beyond functionality to conduct a quest that leads to emotions. A quest here that turns to a sculptural, architectural and emotional approach.

If Pierre Paulin had already built a real grammar of forms, we can today push the know-how even further.

TYPE DESIGN

DESIGN PISTILS OR BONES

DESIGN PISTILS OR BONES

PRELIMINARY SKETCHES

DESIGN PISTILS OR BONES

AXONOMETRY

EXPLORATORY COMPOSITION BECOMES AN END IN ITSELF

nees in the 21 century WINTER 2019-2020

UNIT AIM - ARCHITECTURE, ILLUSTRATION AND MEDIA TEACHERS DENIS DERYCKE, MICHEL LEFÈVRE, JULIEN RIPPINGER INVITED LECTURER URI WEGMAN

The module «Formal analysis and computer process» considers architectural composition as an operation based mainly on principles inherent to the architecture itself, devoid of any form of contextualization, function or ideological content. It assumes that the purpose of architecture lies primarily in the forms and spaces through which architecture reveals itself, as well as in the graphic means - drawings and models.

In such an approach, design is no longer intended to produce a concrete result; the creation of exploratory compositional processes becomes an end in itself.

More specifically, this unit allows for the development of a reflexive attitude that values the theories and practices of architecture.

Concretely, the teaching of the module «Formal Analysis and Computer Processes» gives students the opportunity to explore these subjects by carrying out a personal project that consists of composing architectural forms using computer programming.

First of all, we studied a work of art from Nees Gorge entitled Textures of Gravels, created in 1968. The objects of study are from the fields of painting, sculpture, music or architecture (mainly from the 1960s and 1970s), and their compositional methods are related to systemic processes. Nees, a German academic and engineer, is one of the pioneers of generative art.

From our study of the work, we extracted the formal vocabulary and recurring compositional rules, using only graphic means. We then translated and reinterpreted these rules using parametric computer programming, in order to generate random (parametric) architectural configurations that corresponded to our initial analysis. Finally, we proceeded to an architectural restitution of the work Texture of Gravels. In order to carry out the analysis and the production of parametric architectural configurations, we favoured axonometric drawing and 3D printing as supports.

ANALYSE FORMELLE / CODE NEES IN THE 21ST CENTURY

DRAWINGS 1.original nees artwork 2.nees’s artwork 3D reproduction with a first script 3.nees’s artwork 3D reproduction with progressive rotation

ORIGINAL NEES ARTWORK

1

2

ANALYSE FORMELLE / CODE NEES IN THE 21ST CENTURY

75

CATEGORIE TITRE PROJET

PART OF THE CODE while faces <6: while CZ < NbCubesPerAxis: while CX < NbCubesParAxis: if faces <3: ARmaxD = ARstep*CZ print('less than 3') RotaPlanAxis='Z'#O = X Axis AngleRotaFace=1.5708 elif faces <4: # 180° rotation ARmaxD = ARstep*CZ print ('less than 5') RotaPlanAxis='X' #O = X Axis AngleRotaFace=1.5708 elif faces <5: # ARmaxD = 90 print ('less than 6') RotaPlanAxis='X' #O = X Axis AngleRotaFace=3.14159 elif faces < 6: # ARmaxD = 0 print ('less than 6') RotaPlanAxis='X' #O = X Axis AngleRotaFace=1.5708

MULTIPLE PROJECTIVE AXONOMETRY 4.progressive rotation and random rezizing of some cubes

ANALYSE FORMELLE / CODE NEES IN THE 21ST CENTURY

MULTIPLE PROJECTIVE AXONOMETRY 4.progressive rotation, random resizing and boolean subtraction

CODE NEES IN THE 21ST CENTURY

5

6

MULTIPLE PROJECTIVE AXONOMETRY OF CUBE 5

MULTIPLE PROJECTIVE AXONOMETRY OF CUBE 6

AXONOMETRY 5. progressive rotation and substraction before delete 6.counterform of neesâ&#x20AC;&#x2122;s artwork with progressive rotation (cube 2)

81

CATEGORIE CODE TITRE NEES IN PROJET THE 21ST CENTURY

ELEVATION OF CUBE 7

AXONOMETRY OF CUBE 7

DRAWINGS 7. multi-projection of 12x12 cubes to a single cube in center, with progressive rotation

ARTICULATIONS, DRAPING AND DIGITAL LAYERING The three compositions presented for the exhibition are the result of scattered and concordant attempts, which involve a processual conception, generating pictorial motifs that come to life on folds of drapery. Some of the pictorial bases were designed in association with Elena Manferdini, an Italian architect and teacher at Sci-Arc in California.

These new visual narratives, motivated by a context of aesthetic uncertainty, aim to question representation in architecture and watermarking, the status of the image.

tableaux vivants SPRING 2019

WITH THE SUPPORT OF MANFERDINI STUDIO, THE SOUTHERN CALIFORNIA INSTITUTE OF ARCHITECTURE

Virtual space serves here as a medium for presenting the drapes, which function outside of all external contingencies. The drapery motifs are the result of digital stratifications.

This fabric of intertwined meanings and motifs can be seen as a wandering: a somewhat nonchalant, even uninhibited, use of a rigorous vocabulary that constitutes architecture: grids, wefts, flat forms and volumes. It is a silent protest against canonical architectural representations.

This new type of representation resonates with Burke, who speaks of a «deceptive maze where the eye wanders, uncertain, dizzy, not knowing where to fix itself and how far it is led. » (1) After defining the set of patterns, I make a drapery using modeling software. The fabric, as if placed on a sphere, is connected to algorithms, which assemble the pictorial surfaces in a random way - in order to give them, on the drape, a threedimensionality.

The drapery is often described in terms that are akin to randomness. This lack of predetermination places the drapery in the field of uncertainty.

Far from being reduced to a protective envelope and more than the simple persistence of an ancient leitmotiv, the drapery suggests by the complexity of the apparent folds - a property inherent to the material - the tangle of joints. Here, pictorial articulations that incite the viewer to visualize them from near and far.

The creative process is thus the result of a constant dialogue with the digital and a compression of cultural influences with the aim of changing the line patterns and colorimetric data with each operation.

Burke, Recherche Philosophique sur l’origine de nos idées du sublime et du beau (1757), Paris, Editions Vrin, 1998 (réedition), Partie III, Section XV Du sublime et du beau.

VISUAL STUDIES TABLEAUX VIVANTS

CREATIVE PROCESS

1.pictural base made by manferdini studio

2.random encapsulation and remapping with code in cinema 4D

3.folded light calculation

4.working the materiality of the ground

VISUAL STUDIES TABLEAUX VIVANTS

ETUDES VISUELLES TABLEAUX VIVANTS

MAKING PERCEPTIBLE ALL THE TENSIONS AND CONTRADICTIONS

the beast SUMMER 2017

DESIGN AND CONSTRUCTION SUPERVISION AS PART OF AN INTERNSHIP AT STUDIO ODILE DECQ

IN ASSOCATION ANAS KOUBAITI SIZE 230 SM

The Beast is a restaurant concept proposed by Thomas Abramowicz. In 2017, the challenge taken up by the Studio Odile Decq was to design a new branch unfolded in two floors and led by Chef Alexandre Morin.

In the basement, a long, organic red lacquered table unfolds to accommodate twenty guests. The atmosphere is subdued and gilded by walls as if covered with gold leaf, reminiscent of the Lynchian enclave «Silencio».

On the ceiling hang black suns, technological and futuristic luminaires designed by Odile Decq.

These suspensions, made of moulded polyurethane foam, generate homogeneous diffuse and indirect lighting.

On the ground floor some elements are original, such as the metal structures from the beginning of the 20th century, from the Eiffel era, which have been stripped to preserve them as rough as possible. A spinning counter reminds one of the large table in the basement and is dressed in thin sheets of hot-rolled black steel.

This language is capable of making perceptible all the tensions and contradictions that make up the room.

CATEGORIE THE BEAST

LOWER FLOOR DINING ROOM

CATEGORIE THE BEAST

UPPER FLOOR PLAN

101

1

2

3

INTERIOR 1.kitchen area with countertop and heat lamps 2.work on lighting with fine neon lights 3.wooden benches, steel bar and red lacquered wood 4.view to the street - conservation of the existing steel columns

CATEGORIE TITRE THE BEAST PROJET

4