Portfolio

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CONTENT

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PARKING SPOT 15

ADAPTED ARCHITECTURE 25

CREMATORIUM À L’EAU 39

CAMPUS CASERNES 53

ACTIVE LINK 69

URBAN SPACE INVADERS 79

MICRO-HOUSING 91

URBAN INTIMACY 109

THEATRE SCENOGRAPHY 115

GRAPHIC EXPRESSION

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PARKING SPOT MINI-HOUSING

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Credit: Craig Thomson

MINI HOUSING: THE SIZE OF A PARKING SPOT LA CAMBRE ARCHITECTURE BA1 This projets was inspired by the graphic novel ‘Blankets’, a biography that Craig Thomson wrote on his coming-­‐of-­‐age. During his teenage years, during a chrisBan/bible camp, Craig meets a girl called Raina. The two soon become inseperable, yet, once their stay is over, have to mantain a relaBonship through leEers and phonecalls. Raina is obliged to stay home, due to a difficult family situaBon, feeling extremely responsible for her adopted brother and sister, her biological sister and the newly born of her sister. Although their connecBon is strong, it turns out to be impossible to mantain a connecBon and Raina finally decides to end the relaBonship. 8


From a romanBc point of view I wondered if they could have stayed together if they would have had the chance to live together, . I proposed an innovaBng, alternaBve, intelligent and sustainable pre-­‐ fabricated housing unit, small enough to fit a parking spot, compact and light enough to be transported by a regular car, flexible enough to fit the exciBng, constantly changing lives of two young people. The construcBon consist of a modulated structure, allowing mulBple configuraBons and personal modificaBons, in order to easily adapt to different living situaBons and environments.

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Dans une optique romantique, je me suis demandé si leur relation aurait pu se développer différemment si les deux aurait

The producBon is prefabricated, minimizing Bme and waste, and starts a metal structure, giving users the possibility trouvéfrom un habitation à eux, qui leur the aurait permis d'être à to proximité ou loin de leurs familles, à proximité de la nature ou to a choose for differents finiBons. The whole house can be aEached en milieu urbain.

regular car, or brought on site in a compact pack. Je voulais leur proposer un logement alternative innovante, intelligente et durable, en profitant des avantages de la technologie de la construction hors site , sans déchets et sans gâchis.

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ADAPTED ARCHITECTURE ASAMA HOUSE, BOW WOW + GOLDENBERG HOUSE, LOUIS KAHN

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ADAPTED ARCHITECTUE: ASAMA HOUSE, BOW WOW + GOLDENBERG HOUSE, LOUIS KAHN LA CAMBRE ARCHITECTURE BA2

THE TASK An experiment in combining two studied houses: the task consists of adapting the principles of composition of project (X) and integrate the programmatic content of project (Y)

General objectives: This exercise has as goal to intensifythe students capacities to combine analysis and project in order to develop a tool to manipulate references, to interpretate them, to appropriate them and to integrate them in a projectual process.

Particular objectives: Specifically, this work on references focusses in a intensive way on the comprehension of volumetry / shape / geometry / spatial structure through the perspective of an adaptation to a variation of programmatic date without taking any particular context in account. In doing so, the student is put in a certain condition of practicing “the way of� in which he/she shows her capacity of using a reference in a critical way and in an adapting logic.

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BA2 _ SEMESTRE 01 _ PHASE 01 _ L’ANALYSE COMME COLLECTE DES MATERIAUx DU PROJET

BABAJAN, ROMAIN, SUER, WRIGHT / ASAMA HOUSE

lundi 8 octobre 2012

DÉCOMPOSITION DU PLAN ASAMA

ORGANIGRAMME ORIGINAL

ORGANIGRAMME REFORMÉ

CHAMBRE SÉJOUR BUREAU

CUISINE

BUREAU SDB WC

CUISINE CUISINE SALLE À MANGER PATIO TERRASSE CUISINE SALLE À MANGER

Dispositif spatial et composition. CHAMBRE

ENTREE

SÉJOUR BUANDERIE ENTREE

SDB WC

PATIO / TERRASSE JOUR

BUAN DERIE

NUIT

SERVANTS / SERVIS

OW ‘LOUIS KAHN’ WOW

MESTRE 01 _ PHASE 02_ PRODUCTION MAISON N°1 _ L’ARCHITECTURE ADAPTÉE ! !

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STRUCTURE PORTANTE DU GOLDENBERG

TOITURE RETOURNÉ D’ASAMA

LUMIÈRE NATURAL DIFFUSE EN FENÊTRES ‘T ‘DU GOLDENBERG

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DÉCOMPOSITION DU PLAN GOLDENBERG

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LEONOOR LEUS

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セクション / COUPE AA’

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計画 / PLAN 1:50

A

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THE EDGE OF THE CANAL A CREMATORIUM IN THE MIDDLE OF AN URBAN AND INDUSTRIAL CONTEXT

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A CREMATORIUM IN THE MIDDLE OF AN URBAN AND INDUSTRIAL CONTEXT AT THE EDGE OF THE CANAL LA CAMBRE ARCHITECTURE BA2

CREMATORIUM AU MILIEU D’UN CONTEXTE URBAIN UN CREMATORIUMUNAU MILIEU D’UN CONTEXTE URBAIN ET INDUSTRIEL AU BORD DU CANAL die and they are not happy’BA2 – architecture can’t change that. A ET INDUSTRIEL‘People AULABORD DU CANAL CAMBRE ARCHITECTURE place of rest, a space for silence: that is something it still manages to LA CAMBRE ARCHITECTURE BA2 La despite limite dethel’eau pour are mieux encadrer le were provide, fact comme that notisolation even stones as heavy as they

La limite de

recueillement, créeur écart labelief vie de in more solid epochs with un a firmer in ville. the eternal, as in Saqqara, as Le bâtiment dépasse le bord de canal, pour être totalement in Giza, for example. l’eau comme isolation pour mieux encadrer le entouré et isolé par l’eau. Un basin parallèle au canal contribue

recueillement, créeur àun la vie ledecrématorium ville. de la route. cet écart effet en séparant

Le bâtiment dépasse le bord de canal, pour être totalement entouré et isolé par l’eau. Un basin parallèle au canal contribue à cet effet en séparant le crématorium de la route.

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S

CEREMONIE

CREMATION

CAFETARIA

CEREMONIE

EN

EE TR

SALLE DE RECEPTION

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Organigramme et ’ambiances intèrieures

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50/50

ery early on in the project the choice was made to separate the plot in two parts, one freely accessible and on belonging to the crematorium. I hope hereby to bring an interesting element to the neighborhood while promoting an uninterrupted journey to the crematorium as I wanted to prevent an effect of “death end” - pardon me the pun. The presence of other people seem like a calming influence rather than a disturbing. Thus, the crematorium and meditation garden are intimate spaces defined by a water basin along the canal to isolate the building and a path slightly buried in the ground to differentiate the pedestrian routes from those of the “public parc”. The concept of limit is seen here through respect and empathie, which I personally think is much stronger than a wall.

2012-2013 • BA2 ATELIER DE PROJET • EXERCICE SEMESTRE 02 - PHASE 2 • LEONOOR LEUS

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THE WATERFRONT

The crematorium’s building, inspired by Sanaa’s Kunstlinie theatre in Almere, Netherlands, consists of a one-floor-tall ’slice’ measuring 100 by 100 metres. This extends from the bank out over the water like a diving board. Rising out of this 'base slice' are three volumes; a small one for the coffin rooms and two big volumes for the ceremony halls. A section of the building is contained in a basement while another section is raised on stilts. A delicate reflection of light and air – that’s the impression the building leaves after a visit. The base slab feels like one horizontal universe. The façades are made entirely of glass and allow light to penetrate the building horizontally, and corridors bring the light further inside. That also results in long vistas. From the entrance you can see the water glistening 100 metres further ahead. The roof is largely closed, but light shafts made of translucent synthetic material and patios allow for vertical light penetration.

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2012-2013 • BA2 ATELIER DE PROJET • EXERCICE SEMESTRE 02 - PHASE 2 • LEONOOR LEUS

The interior spaces are pure. Openings often cover an entire wall, the climate is controlled through the floor, and narrow bearing walls limit the number of columns. Slender columns are added where the walls do not possess enough bearing strength. In places a corridor runs through a patio, but with respect: the sluice is made of uninsulated glass and can thus be physically experienced.

The crematorium tries to be is austere and sensitive. And the architecture is appealing. Our final road is uncertain. Neither church nor temple of the dead offer a model for the path to nothingness or angelhood.

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2

Escaliers (pl. m) Endroit pour se rapprocher a l’eau ett revaloriser la vie autour du canal.

Esplanade (f.) Une esplanade est un espace uni devant un édifice.

Jardin public (m.) Un jardin public est un terrain enclos, paysagé et planté destiné à la promenade ou à l’agrément du public.

Mur (m.) D’un côté du mur ou de l’autre, qu’est-ce que cela change si des deux côtés le mur nous sépare?

Receuillement (m.) Fait de se recueillir, de s'abstraire du monde extérieur pour se replier sur la vie intérieure.

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2012-2013 • BA2 ATELIER DE PROJET • EXERCICE SEMESTRE 02 - PHASE 2 • LEONOOR LEUS

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Crematorium (m.) Amphithéâtre (m.) Endroit pour cérémonie extérieure.

Parking (m.) Columbarium (m.), Le lieu où sont déposées dans des niches les urnes cinéaires contenant les cendres des morts.

Cimétière (m.), Un cimetière est un groupement de sépultures monumentales environnant un lieu de culte. Dans ce cas ci, des places individuelles pour les urnes.

Plantation (f.), Un monument vivant qui aide à garder un souvenir à nos proches. On plante un arbre ensemble avec les cendres.

Jardin de dispersion (m.) Désagréger quelque chose, le faire disparaître en le fragmentant : Le vent dispersa la brume.

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CAMPUS CASERNES AN ‘INTERNATIONAL CITY’ IN A BRUSSELS WAY

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TITRE DE PROJET Campus Casernes

Une « Cité internationale universitaire » à la mode bruxelloise

NARRATION INTENTIONS

REDEVELOPMENT OF THE BARRACKS LA CAMBRE ARCHITECTURE BA3 UN GRAND ESPACE COMMUN POUR TOUS LES HABITANTS

© TADAO ANDO!!

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© SOU FUJIMOTO

The Federal Police Barracks, located along the boulevard Général Jacques in Brussels will gradually be emptied of their staff. Another life must therefore be designed for these iconic buildings.

AXONOMÈTRIE GENERALE PLAN D’IMPLANTATION As part of a reflection on the creation of an international university center, DU PROJET DU CIEL of the Brussels the ULB and VUB joined reflections underVUE the coordination University Alliance and offered a great "life-size"1:500 educational project to 200 students BA3 Architecture (ULB) and 45 students in Polytechnic MA1 (ULB & VUB).

MORPHOLOGIE: XXX (texte/ oci) SURFACE PARCELLE: XXX M2 TITRE DOCUMENT The goal? Transforming Barracks site into a place of life and meetings

SURFACE CONST. AU SOL: XXX M2

SURFACE DES PLANCHERS: XXX M2

involving housing for students and researchers, green spaces, places

P/S: XXX

A! ! !PRIVES/ ! ! COMMUNS: ! ! ! ! XX ! % B! ! SURFACES

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dedicated to leisure, culture, etc.

SCHEMAS POSITION DES CHAMBRES NOMBRE DE LOGEMENTS: XXX

NOMBRE DE TYPOLOGIES: XXX AUTRES FONCTIONS:

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COUPE-FAÇADE 1:500

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AXONOMÈTRIE GENERALE DU PROJET VERTICAL LANDSCAPE

ACCES AUX PARC

PLA

The inspiration to create this architectural landscape into its urban

environment came from the initial project specification based on the principles of the open block, as defined in Pontzamparc’s Massena project in Paris (France), the master plan is emerging as a crown built around a large public park. The vertical fragmentation of structures was an important requirement to maintain the permeability of the site, offering views to résidents’ adjacent houses and maximize sunlight flowing through in the park. 41


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VERTICAL CAMPUS

TRIE LE ET

The project creates a link between Etterbeek station and the new park. To meet the urban needs, the ground floor is a large plinth dedicated to

PLAN D’IMPLANTATION buildings are placed, which form a clear benchmark of the site when VUE DU CIEL coming from the station. These three towers are linked by a large common terrace. Inside, the1:500 structure of the site also becomes a commercial and educational functions. On this base three housing

source of inspiration for the complex: with a dense arrangement of rooms around a common area continuous on all floors, the new building reinterprets the development of the campus on a human scale to create a "vertical campus".

RT MORPHOLOGY: OPEN BLOCK

TITRE DOCUMENT

SITE SUPERFICIE: 6 350 M2 2 M M2 CONSTRUCTED: 2 850 M2 FLOOR SUPERFICIE: 7 100 M2 0 M2 NUMBER OF BUILDINGS: 3 % PRIVATE / COMMON: 50% / 50% HOUSING TYPE: COLLECTIVE

X%

50%

ACE COMMERCIAL

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TITRE DOCUMENT

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THE SOCIAL NETWORK

The three blocks each comprise between 100 and 150 bedrooms units and the common area contains about half of the total area. The large vertical distribution space is not only functional, but acts as a social meeting place for each floor for all resident(s) and is at every moment in direct connection with the rooms. This open space offers a spectacular view OVER the campus, floor to floor views through double heights, mezzanines and other circulation patterns and is reserved for common activities such as studying or dinner.

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CO-HOUSING

E PROJET Casernes

Une « Cité internationale universitaire » à la mode bruxelloise

To make this livable community, the choice was made not to privatize NARRATION housing for students. With such desire to create a social mix which, in INTENTIONS my opinion, will create a more interesting collective atmosphere. Diversity can invite different groups to communicate and implement a knowledge exchange, eg cooking classes, computer or others.

UN GRAND ESPACE COMMUN POUR TOUS LES HABITANTS

© TADAO ANDO!!

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© SOU FUJIMOTO

The main intention of the project was to create a common life between students/residents to improve community spirit, creativity and organization of events and gatherings, providing students at the same PLAN time,D’IMPLANTATION the privacy and comfort. VUE DU CIEL 1:500

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COUPE-FAÇADE 1:500 TITRE DOCUMENT

ONALE UNIVERSITAIRE » À LA MODE BRUXELLOISE ! NALE UNIVERSITAIRE” A LA MODE BRUXELLOISE

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LEONOOR LEUS BA3 2013-2014 NOM, PRENOM, BA3, 2013-2014

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5 m.

bureau

armoir douche

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armoir douche

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bureau

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SIMPLEX I

AXONOMÈTRIE GENERALE DU PROJET

bureau

MORPHOLOGIE: XXX (texte/ oci) SURFACE PARCELLE: XXX M2

22 m²

SURFACE CONST. AU SOL: XXX M2

DUPLEX

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TITRE D


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COUPE-FAÇADE 1:500

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COUPE 1

TITRE DOCUMENT 51


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ACTIVE LINK UP-CYCLE BARCELONA WORKSHOP

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UP-CYCLE: INTENSIVE PROGRAMME WORKSHOP UP-CYCLE: INTENSIVE PROGRAMME WORKSHOP BARCELONA BARCELONA LA CAMBRE ARCHITECTURE BA3 BA3 LA CAMBRE ARCHITECTURE GROUPWORK Zona Franca, est marquée par un tracé urbain clair, entouré par The Zona Francala inrivière Barcelona is marked by a clear urban layout, le port, Llobregat, l'autoroute Ronda Litoral et le Montjuic. Sa croissance a rempli cette vaste zone sans surrounded by the harbor, the recente river Llobregat, the Ronda Litoral aucun ordre, structure, des services adéquats ou d’espaces highway and the mountain of Montjuic. Its recent growth has filled this publics significatives et sa position stratégique entre la ville de vast area without any order, structure, adequate services or Bcn et l’aéroport est fortement perturbé par les lourdes significant public spaces and its strategic position between the town infrastructures.

of Barcelona and the airport is heavily congested by infrastructure. Notre projet articule une vision inspirante pour la revitalisation des modes de transport dans le quartier de Zona Franca, Our project articulates an inspiring vision for the revitalization of actuellement fortement déconnectée du centre-ville. Ensemble transport modes in the Zona Franca, currently heavily disconnected avec la construction de la nouvelle ligne de metro et la from therelocalisation city center. Together withdu theport, construction of the qui newservent metro à de l'entrée deux projets

line anddiminuer the relocation of local, the port entrance, projectsles thatmodes serve actifs to le trafic nous visons two à améliorer transformer Franca un to quartier facilement reduce afin localde traffic, we aim la to Zona improve activedans modes transform the Zona Franca in an area easily accessible area. 66

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espaces verts pour améliorer l'infiltration ce qui à son tour crée des espaces publics agréables. first place, the plan includes a new built cycle track network in NousIn the vision la même configuration sur le carrer A avec un plan Barcelona, with a significant impact on Carrer A, the central axis that

de gestion de l'eau et la transformation du boulevard en runs through the site. This axis has the potential to become a new

promenade de urban connecter verts actuellement "Ramblas", verte, a repetitive model in les the espaces city of Barcelona. Historically, et these great avenues were createdentre to allowlarainwater to Barcelone et fragmentés réétablir la relation ville de with green spaces to improve infiltration which in turn creates a de laflow, rivière Llobregat. pleasant public spaces. We view the same configuration on Carrer A with a water management plan and the transformation into a green boulevard promenade, connecting green spaces currently fragmented and re-

ACTIVE LINK_reconnecter la Zona Franca

trigeneration energy plant

eco waste treatment water treatment plant heating & cooling network

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establish the relationship between the city of Barcelona Trois zones sont extrêmement important and dansthe ce processus: un Llobregat river. eco park dans l'ancien riverbed du Llobregat avec des assurer purification Three zones arewetlands extremely pour important in thislaprocess: an econaturelle park in de l'eau, un

centre logiciel unissant plusieurs modes de transport et un the old Llobregat riverbed with natural wetlands to provide water nouveau campus écologique offrant à la fois des opportunités purification, a logistic centre combining several modes of transport éducatif que les possibilités de recherche environnement vert and a new green campus offering both educational opportunities as de grande qualité. Tous ces projets se positionne dans un opportunities for research of high quality green environment. All of reseau global de transport, d’énergie et de traitement d’eau. these projects are positioned in a comprehensive transport network, energy and water treatment. !

ECO-CAMPUS_toolbox WATER LINE

PERMEABLE PARKINGS

WATER STORAGE

LOW SCALE TRANSPORT

SOFT AXIS

PERMEABLE SURFACES NEW PROGRAMS CONNECTIONS

ARCHITECTURAL CLUSTERS LEARNING PATH PRODUCTIVE LANDSCAPE

NOISE BARIER

RESEARCH INCUBATOR

EDUCATION AREA

GREEN SPACES

SERVICES SOLAR SURFACES

HEAT AND COLD NETWORK

SPORT FACILITIES

NATURAL

COOLING

ORGANIC WASTE TREATMENT

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ECO-CAMPUS_programmation

ECO-CAMPUS_récupération des eaux pluviales

Ecoulement eaux campus Marécages et étang Ecoulement eaux publiques

Collecteur principal

Water purification plant

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ECO-CAMPUS_déplacements / accessibilité

Mobilité douce Voitures, camions

ECO-CAMPUS_énergie

Heat

Eco waste treatment

Cold

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LE CAMPUS

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centre sportif. Dans le programme accessibles au public sont ECO CAMPUS encore compris: un restaurant, un café, un centre de conférence, centre de soutien scolaire, centre de santé et de Connectivity and pedestrian accessibility are two principles that

bien-être et de deux espaces de vente. Deux espaces publics influenced the shape and location of the new campus, with the goal to sont fournis: un parc entre les deux ‘clusters’ de bâtiments et transform a neglected and currently idle area in a dynamic and

uneattractive place urban ouverte au croisement de la an carrer A avec une neighborhood. The project proposes education continuité dans center la traitement de sol pour bien center, a research and a sports center. In the program to themarquer la public are entre still included a restaurant, connection les deux cotés.a café, a conference center, tutoring center, health spa and wellness and two retail spaces. Two public spaces are provided: a park in between the clusters of Adapté au climat chaud de Barcelone, les différents bâtiments buildings and an open square at the intersection of Carrer A with

forment de clusters connecté entre-eux, avec des patios, continuity in soil treatment to mark the connection between the two

loggias et terrasses pour se protéger du soleil. Les toitures en sides. pente captent l’eau deofpluie dans centrals pour Adapted to the hot climate Barcelona, the des variousbassins buildings form rafraîchir espaces clos. clusters les connected between-them,

with courtyards, loggias and

terraces to protect from the sun. The pitched roofs capture rainwater in basins centrals to cool enclosed areas. ECO-CAMPUS_apports solaires / récupération des eaux pluviales

28 ° December 21st, 12:00

74 ° June 21st, 12:00

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ECO-CAMPUS_plan b창timents de recherche

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ECO-CAMPUS_plan b창timents universitaires

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URBAN SPACE INVADERS UNIVERSIDAD EUROPEA MADRID

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URBAN SPACE INVADERS UNIVERSIDAD EUROPEA MADRID 2014-15 GROUPWORK WITH MIA GOMMI

Regarding the fact that Spain is currently facing an immobility crisis, resulting in an abundance of "skeleton buildings" without any finishing. We want to create a procces in which we install a regular scaffolding system which can be easily applied to existing unfinished structures, only made out of slaps and walls, and "fill it up" with a collection of adjustable modular balconies. We took inspiration of a similar project, the Lacaton & Vasal restauration in Paris in which they added more than 3500 square meters to an existing building of almost 9000 square meter's by adding a supplementing facade of balconies and/or winter gardens.

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THE COLLECTION We wanted to create a similar concept as Lacaton & Vasal, but with a free-er approach, so we created a panelling system making a variaties of programmes and configurations possible. Each user can make their own adaptation and compose a personal program. The result of this proces is a catalogue of different modules. The collection of configurations can be put together in different ways, offering a different set-up each time and a wide variety of scenarions. The process of installing the scaffolding and inserting the balconies is time-wise very economic, and is temporary, so it can also easily be taken off, for exemple when the budget to finish the building is available. Thus it can be a temporary solution giving inhabitants all the possibilities to “invade� the urban structure.

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MADRID RIO MICRO-HOUSING

UNIVERSIDAD EUROPEA MADRID

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MADRID RIO MICRO-HOUSING UNIVERSIDAD EUROPEA MADRID The problem of u ! rban density and housing costs is global. As unit types get smaller however, micro-housing has the danger of becoming a provisional housing type with little social value. By mining the discrepancy between maximum floor area ratios and maximum zoning envelopes, Madrid Rio Micro-Housing provides a typology that extends the limits of the unit to also include semi-public circulation, balconies and visual extensions.

The whole envelope of the individual ‘unit blocks’ becomes a soft intersection between public/private and interior/exterior, using the different balconies/green houses as a natural heating in order to create a comfortable atmosphere and the possibility of social fabrics between neighbors. In this way, the ambition of the project is to prove that ‘space’ and ‘size’ are actually separate concepts.

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MICRO-HOUSING In terms of dynamically flexible mixed-use housing, the fourteen units allow residents to either claim a single unit, or in the case where a couple or a group of friends require more space, recombine the blocks for larger configurations. This flexibility allows occupants to live in the building longer and thus more socially sustainable as they will not have to move out with changing situations both financially as in expanding families. Finally, the microauditorium on the ground floor, basement, kitchen and fitness ra spatially linked to the units as shared living spaces. All technical features are plugged on to the building in Pompidou style, such as recycling, air control, solar panels, vertical garden, etcetera making eco-living a visible part of the building.

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The open ground plane can be constantly repogrammed for differentiating events such as performances, movie showings, or gathering. Pedestrian traffic is pulled from the street down through the micro-auditorium’s steps, connecting city, building and

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residents to the spaces below. Even passing cars are invited to ride in and enjoy a drive-in movie rather than spent lost time in traffic.

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URBAN INTIMACY PORTO ACADEMY ’13 SUMMER WORKSHOP 51N4E

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PORTO ACADEMY ’13: URBAN INTIMACY SUMMER WORKSHOP

My week with 51N4E at 41N8E

A wandering tourist or passerby probably didn’t pay any attention to it, but those who know what they came for, have certainly spotted, photographed and shared it on their favorite social network: on one of the steep slopes of Porto, an anonymous artist used a black spray to ingrave a stencil saying 'Keep calm and love Siza' in the gray sidewalk. Above the letters proudly stands the logo of the Faculty of Architecture of the University of Porto (FAUP), one of the most famous architecture faculties of Europe who owes its reputation to this living legend, Alvaro Siza. A hundred yards further down the street, just around the corner, you arrive to the campus designed by his hand. On the summer of 2013 Indexnewspaper organized a summer school named ‘Porto Academy’ at Faculty of Architecture of the University of Porto (FAUP). Porto Academy consisted on a workshop with Anne Holtrop, Camilo Rebelo, Go Hasegawa, João Pedro Serôdio (Serôdio Furtado), Johan Anrys (51N4E), Nuno Brandão Costa, Pascal Flammer, Pier Paolo Tamburelli (Baukuh), Raphael Zuber and Thomas Raynaud (Building building). It also included ten lectures from those architects 93


plus five master classes from truly legendary guest architects: Alexandre Alves Costa (Atelier 15), à lvaro Siza, Eduardo Souto de Moura, Marcos Acayaba and Milton Braga (MMBB), exposing thoughts about "Porto and Paulista Schools". Architecture students from around the world were in no time persuaded to participate in this workshop. None of the newcomers remained unmoved by the impressive school building, located on the quay of the river Douro. Siza draws flowing lines and places his towers with exact precision to frame the beautiful view of the Portuguese countryside and seperate the building’s courtyard from the street. There is a large commitment to the environment. On the ground floor you are at any time in direct connection with the river and the mountains. Although

the differents volumes seem

fragmented, they are connected by an underground corridor to keep the continuity. The framework that the school offers, made everyone immediately enthusiastic. Everyone immidiately felt connected, and conversations in diverse languages quickly filled the courtyard terrace. The next two weeks, we will spend together in this amazing university, attending master classes, working closely with renowned architects, spend nights in the studio to build models. We worked hard (and partied mayber even harder)!

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Masterclasses By our first guest speaker, Portuguese architect Alexandre Alves Costa from Atelier 15, we were given a fascinating insight into the concept of the School of Porto, from which we would be enjoying the following weeks. The School of Porto thanks its respected reputation to the many architects that studied at their university to later on become a worldwide reference in architecture schools and repeatedly prove its educational, scientific and artistic transfer throughout modern day architecture. One of the famous outcomes of the school is Eduardo Souto de Moura. Those born in Porto architect graduated in 1980 from the FUAP after which he immediately started his own agency (as recommended to him by Alvaro Siza) . He continued teaching at the Faculty of Architecture in Porto and won a Pritzker prize in 2011. During his talk, our third night at the university, we were given an insight in his Burgundian life style. His large stature, his loud voice and his choice of subjects are equally impressive. While he enjoyed describing his favorite kind of wicked, he showed little or no interest in some potentially very enriching questions asked by the audience. When asked which of his works his favorite project was, he replied that normally his answer would always be “the next project�. But that in the current financial situation, he hardly doubted his next project 95


would be nor soon, nor as interesting as his previous work, so he went without much further explanation for the Braga Municipal Stadium that he designed in 2003. It might not have come as such a shock to many, and he might be disappointed by some recents developments in architecture, but it seems unnecessary for a pretentious Pritzker winner to discourage a group of young architects as if there are no chances left for them. Is is not the old guard that should seek in us for new visions and new ways to design? The next guest speaker, the Brazilian architect Marcos Acayaba, tried harder to get us motivated so search solutions. He was born and raised in Sao Paulo and studied there from 1964 to 1969 to the FAUUSP, where he also obtained a doctorate in 2005. His more than thirty year of experience in architecture, both by teaching and exploring through his own office, makes him one of the most respected creatives in the current Portuguese architectecture scene. He gave us an inspiring overview of the social problems that he’s been tackling in booming Sao Paulo over the last years. The city is in permanent construction and rapidly transformed form a pleasant little town to a giant world metropolis . Sao Paulo is also the hotbed of Milton Braga (MMBB), fourth master in row. Just like Acayaba, he studied at the FAUUSP and in 2006 obtained a doctorate in architecture and urban planning. Since 2001 he leads a private agency that has been 96


awarded several prizes and has appeared in exhibitions and publications worldwide. MMBB is a remarkably versatile office. Their vision of urban development (mainly conducted in Sao Paulo) is very contemporary and explains and exposes the core of a series of current problems without losing the joy of it. Our patient wait is finally rewarded. On the last night we finally meet Alvaro Siza... Meanwhile, more than half a century ago, he graduated from the University of Porto. Meanwhile, he teaches at the most prestigious schools of architecture around the world, but remains true to his home base. Everyone here therefore agrees that he is an architectural genius and a great example for all students. Unfortunately he could not satisfy everyone’s high expectations. Our generation is apparently not used to listen to the level of rational discourse as Siza brought us. He brought us rather dry information about the subdivision, building style and materials of some of his projects and that surely, for some of us, broke the mystery around his figure. His speech lacked the poetry he’s so often praised for and offered no insight into his way of thinking and/or designs. The lecture was perhaps not a great enrichment, but a week spent in its design has been an inspiration and motivation that will undoubtedly have a great influence on our future work .

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Workshops But we didn’t only get to listen. In the individual workshops, we got the chance to work face to face to some very admirable contemporary architects. An overview: The first visible results came from the studio of the architect Anne Holtrop. While most participants closed the first day at the bar with a refreshing bottle of Super Bock, his students immediately got to work. Based on his clear briefing they filled the large windows of the cafeteria with white lines, circles and shapes. This was the first step in a workshop that explored how we can, in a literary way, convey spatial attributes. For their exercise, each student received a text. Their formal interpretations of this text would later on become beautiful models in black cartboard. He gave a first impulse, but other than that the students were free to create whatever they wanted and the results showed a very personal approach to each text. Camilo Rebelo asked his students to literally dig a litte deeper. To address the problems of our increasingly crowded earth's surface, he undertook a journey to the center of the earth. Each group went to work on a specific natural area like a mountain landscape, a forest, an ocean, a desert ... and were allowed to decide which program would best integrate with the conditions that come with these underground structures. 98


The models, cut from black polystyrene, showed a rather normal exterior with deep inside some very interesting spaces, providing light and air to never before reached places. The studio of João Pedro Serôdio, who studied at the University of Porto, was an investigation into the relationship between architecture and nature. They created a group of buildings that were closely linked to an existing environment. The models were completely in white styrofoam and it was not always easy to distinguish the landscape from the building. French Thomas Raynaud showed how architecture, landscape and water meet. Their work domain: the islands around Venice (where in 2008, Raynaud together with Cyrille Berger, developed a project for an ecological urban park). Each student chose his/her area and was completely free to design a project based on the properties of this island. The major focus was the concept of such an island. Boundaries were scanned, the position facing the lagoon examined, as well as the relationship and the interaction that occurs between the other neighboring islands. It therefore didn’t remained only the island as a separate entity, but it was as their mission to aproach the archipelago as a whole and create the infrastructure that could connect these islands with each other.

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Raphael Zuber succeeded with his group to make an inventory of architecturally interesting buildings, put down between 1992 and 2012. In addition to the " classics " of the history of architecture, we also discovered less iconic buildings that still proved to be very controversial and showed evolutions and trends less noticeable . Pier Paolo Tamburelli & his team undertook a virtual pilgrimage trip to Fatima, a religious landmark in Portugal. Attention was drawn to a scientific study of this ceremonial place , and how to use an architecture with deep significance and magnitude. Based on the data collected, the students made one-shot presentations of interpretations theyr formed through the statistics of Fatima. In the studio Nuno Costa students were put pairs as an architect/client. Their mission was to design something inside the faculty, meeting the requirements of 'the client’. The realistic relationship that was created, gave students an insight into the necessary negotiations and almost inevitable clashes during the creative process. Ultimately, the results were received with great joy and only a few people said they wouldn’t live in their new place. Go Hoosegow, together with his group, studied every side and angle (and even the roof!) of Siza campus. All their inspiration and interpretations were shared daily on a huge room-large piece of paper on which the drawings of the 100


different students were overflowing into each other, resulting in something he liked to call “Siza-ness". They repeated their daily activity live during the final presentation to the happy tones of "All you need is love" (a reference to a movie in which Siza while drawing is humming this famous tune by the Beatles). To see the drawing being created, was like a hugy choreography and got us guessing which elements of the FAUP, abstract and concrete, we could recognizable! The workshop that Johan Anrys prepared for Porto Academy, existed in seeing the city as a bigger picture by focusing our attention on small, personal events. Somewhere along the way, it seems that we have forgotten the public space is there for us to occupy. Following the formal reglementation, we primarily use and design it in a functional and efficient way. But by continuing to reach out, we could create a public space with personal commitment. Using the poetic , the human and the surreal to form our shared environment. Using the working method of 51N4E, we investigated the question rather than to examin ourselves to find a solution. Without strict instructions, we had to collect, in the form of photographs, sketches and texts, and capture what struck us in the way people of Porto were inhabiting their city. We went in search of a lexicon of how people make sense of their own intimate life by relating it to the public space and vice versa. 101


We were looking for places where the public space meets the private lives of its inhabitants. Numerous examples were after deliberation by the whole group, summed up in a thirty themes of which we each developed one individually. The result is a list of concepts, situations, coincidences. More often than not reaching much further than Porto itself. Some ideas vague and abstract, others defined very precisely and concretely. A complete compendium that will guide you in design that not only refers to itself, but has the capacity to build our own urban intimate world. In short, a study that made us think about what it means to occupy a city as a resident ? How do we make sense of the respect we have for our environment, and with others? And how to use these non-architectural references as inspiration to understand the term ' living.

A heartfelt thank you goes out to the organization, volunteers, architects and students of the Porto Academy 2013. 102


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PUTTING IT OUT ON THE STREETS People are furnishing the public space in order to create an informal atmosphere within the stricly organized city life. Sometimes the sidewalk and street are treated as a prolongation of the interior space, with a purpose of appropriaton of the shared public space. Sometimes these situations turn up spontaneously, wherever and whenever there is a lack of formal, official solutions. Both cases bring the everydayness to the street, a way for inhabitants to occupy the city and establish a relation with their territory. In such a context, the boundaries between what is private and what is public are blurred. The distinction of what belongs to one individual, to a family or to the community is difficult to recognise from the outside and it varies, according to time and particular situations.

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SALDOS! HALF TIME SLEEPING PLACES

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SALDOS! HALF TIME SLEEPING PLACES Allong Rua Julio Dinis, one of the arms of the Boavista roundabout, every couple of neighboring shops share a small covered entrance port with facing doors, including a third door accessing the apartment block above the shops. The cosy room created by this setting is, during the nighttime, used by a group of homeless people in order to pass the night in a more or less comfortable place. Being inhabited here becomes the result of a process of creation and re-creation carried out by the inhabitant, a process of adapting and re-adapting between space and society. We are being faced by a dynamics in which space is constantly created and re-created, a dynamics which itself defines the phenomenon of inhabiting.

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THEATRE SCENOGRAPHY INTERNSHIP BRONKS, YOUTH THEATRE BRUSSELS

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GRAPHIC EXPRESSION DRAWINGS

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