MARC-ANTOINE PEPIN 2018 PORTFOLIO
2018 PORTFOLIO I am a recent graduate currently seeking to start my career in architecture. With an academic background spanning both fine arts and architecture, I aspire to work on technically-sound unconventional ideas. This bilingual curiosity-driven obsessive researcher is 50% cake, 40% books, 10% LEGO and 100% excited at the prospect of working for you!
LIFE STORY 00 | Marc-Antoine Pepin
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HISTORY OF FAILURE 32 | thesis
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THAT 8 14 | architectural addition UNCONVENTION 12 10 | Berlin block facade
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WAREHOUSE OF KNOWLEDGE 07 | bibliothèque Saul Bellow
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RAISED HOUSE 05 | house for a collector
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LIFE STORY MARC-ANTOINE PEPIN mampepin@gmail.com 514-662-3961 2017
Master of architecture University of Waterloo, Waterloo, Canada
2013
Bachelor of science, Architecture Université de Montréal, Montréal, Canada
2010
Bachelor of fine arts, Studio Arts Concordia University, Montréal, Canada
Fall 2016 Teaching assistant ARCH 263 Integrated environmental systems with Aaron Grin University of Waterloo, Waterloo, Canada Spring 2016 Teaching assistant ARCH 264 Building science with John Straube University of Waterloo, Waterloo, Canada Spring 2015 Architecture intern Atelier PRO, The Hague, Netherlands 2016 Teaching assistantship excellence award ARCH 264 Building science with John Straube University of Waterloo, Waterloo, Canada 2016 Treasurer Society of Waterloo architecture graduates University of Waterloo, Waterloo, Canada 2012-13 Vice-president, Academic affairs Regroupement des étudiants en architecture Université de Montréal, Montréal, Canada 2011-12 Vice-president, External affairs Regroupement des étudiants en architecture Université de Montréal, Montréal, Canada 2010-11 Delegate at the Canadian association of students in architecture Regroupement des étudiants en architecture Université de Montréal, Montréal, Canada
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HISTORY OF FAILURE The ability to project a virtual vision on the world and give it physical form sets mankind apart. By shaping its surroundings at will, it holds considerable power on its environment, its community, and the world at large. The thesis takes the form of a conversation between the author and his conscience, constructing a history of civilization through the changing horrific potential of architecture. Beginning with the primal confrontation to nature, the discussion lingers on the oppressive walls of modernity to project a future of hostile sentient buildings. A chimera one part asterochronic1 collage and four parts picaresque2 novel, the thesis recalls the failure of the thesis-as-building to dwell on the indefinable, uncontainable nature of horror, painting a very dark image of the world.
1. “[The asterochronic] establishes connections between events that are heterogeneous in time and space.” Muriel Pic as quoted by Nicolas Bourriaud, ‘The angel of the masses‘ in The exform (Brooklyn: Verso, 2016), 52. 2. The picaresque is characterized by the absence of a clear plot and a rogue hero living by his wits. Clarence Hugh Holman, “The picaresque novel” in A handbook to literature: Based on the original edition by William Flint Thrall and Addison Hibbard (Indianapolis: Bobbs-Merrill Education Publications, 1980), 330-331.
University of Waterloo Master 2nd year + Thesis
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Robert Jan van Pelt et al. 93 weeks 1.04
sketching Adobe InDesign Autodesk AutoCAD Adobe Illustrator collaging Microsoft Word Adobe Photoshop
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The thesis would be easier to navigate with the pictures inserted throughout the text. uwspace.uwaterloo.ca/handle/10012/12020
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2018 PORTFOLIO
[FIG. 1 FIRST LEVEL THE GIANT]
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78. Ibid.
79. Michael Brill, “An architecture of peril: Design for a waste isolation pilot plant, Carlsbad, New Mexico” on Arch. KSU.edu (web, accessed 2016-06-02), http://www.arch.ksu.edu/seamon/brill. htm.
divorced from the social and political context surrounding it. It is clearly political architecture — maybe even a symbol — built to send a message to both the Mexican and, importantly, the American public.” 78 “There is no physical barrier we can devise now that some future technology cannot breach. Thus, any ‘barrier’ can only be purely symbolic, not a boundary that actually inhibits trespass.” 79 I understand you did not enter the competition. I thought about proposing a trench instead of a wall. The idea came from looking at the border between Canada and the United States. Because both countries get along and respect each other’s claims, it is only protected where the road systems meet and in highly populated areas, but it is marked on its entire length. Every few years all vegetation is cleared a few meters on both side, which creates a linear clearing. It doesn’t block anyone from crossing, while still making people aware that they are crossing. At its core, a wall is only an obstacle meant as insurmountable. A wall hides what’s on the other side, making the neighbour invisible. A trench makes it inaccessible but still visible, emphasizing the division. I know you like my poems... I do love your poems. ...so I have a short one here too. A wall traces the pieces, it separates them, they drift apart until the puzzle makes no sense. A wall isolates, it cleaves the Earth, a shard of concrete that sinks until the ground is shattered. A wall is not just an obstacle, it is a rift in the fabric of the world. More than twenty years later, Berlin has not completely healed that rift. 56
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2018 PORTFOLIO
You mentioned that all of human horror is a modulation of the basic wall. The wall itself is the basis of the human horror, because it imprisons individuals and communities alike. If we take the border wall and gradually shrink it, we end up first with prison camps, then prison complexes, and finally with individual cells. The wall is segregation on a national level, the camp is segregation on a community level, and the cell is segregation on an individual level. The wall is the divide between us. The wall existed first as a small device to protect the individual from the outside. The interior of the house was the extent of the builder’s control on the world. As civilization developed, the wall was used to extend that territory from the one house to a group of houses, and eventually to a village or even a small city. As you mentioned earlier, excluded members of society would be banished outside the wall and left to fare against nature on their own. As society’s territory spread, that became impractical. Society internalized the wall and created a space of exclusion within society itself. The space for the excluded became the prison. “Prisons are zone of exclusion included in the space of society. They are micro-totalitarian societies that cannot be thought without their architectural apparatuses.” 80 By excluded, you mean criminals. There are a number of reasons why someone would be sent to prison, but in theory it is because they violated the social contract.
[ON PRISON]
80. Léopold Lambert, “Prison information group: Michel Foucault, Jean-Marie Domenach and Pierre Vidal-Naquet” in Foucault, The funambulist pamphlets 2 (Brooklyn: Punctum Books, 2013), 98.
“Spaces of punishment, in their essence, have been created in a peculiar revanchist way of thinking. Indeed, they have been programmed to suspend the application of the law for people who 57
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THAT As museums gain importance for our collective memory, their collections grow, and so does their need for space; in recent years, several institutions undertook expansion projects. THAT is an addition for the Musée des beaux-arts de Montréal, with a twist: THAT was designed to accommodate the expanding museum and a permanent blood bank. Through a large central atrium, the programs cross-contaminate audio-visually while remaining physically separate. The added programme is conceived as a parasite inside the building, while the building as a whole is designed as a parasite in the city to increase its visibility.
Université de Montréal Bachelor 3rd year winter semester ARC 3018-A Architecture project 1 Georges Adamczyk Hubert Pelletier 6 weeks sketching Google SketchUp Autodesk AutoCAD Adobe Illustrator Adobe InDesign physical modelling
THE MUSEUM EXTENSION WORKING AROUND THE INTRUSION OF THE ADDED PROGRAMME
The entrance is gloomy and hardly visible and could be improved by shrinking the second floor and raising the entrance ceiling. Pushing back the right side of the facade would also put it at an angle, increasing the visibility of the entrance from SteCatherine street. The whole volume would be more interesting if it weren’t broken up by an accidental facade design. THE RESULTING CIRCULATIONS FLIRT WITH EACH OTHER WITHOUT EVER MEETING
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PHYSICAL MODEL
PHYSICAL MODEL WITH THE TWO PROGRAMS SEPARATED
Terrace Terrace Offices Offices
Resting room Resting room
Donation room Donation room
Refrigeration Refrigeration
Waiting room Waiting room Exhibition Exhibition 475 m2 475 m2
Laboratory Laboratory Refrigeration Refrigeration
Exhibition Exhibition 500 m2 500 m2
Archives Archives Offices Offices
Exhibition - 525 m2 Exhibition - 525 m2
Staff room Staff room
Exhibition - 550 m2 Exhibition - 550 m2
Coat check Coat check
Reception Reception
Hall Hall
Storage Storage
Building systems Building systems
Storage Storage
Storage Storage
DONATION CENTRE DONATION CENTRE
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MUSEUM MUSEUM
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2018 PORTFOLIO
precast concrete tile 50mm filter fabric extruded polystyrene 300mm drainage board 25 mm fully adhered roofing membrane concrete slab 250mm duct work gap 400mm dropped ceiling
brick veneer 90mm air gap 38mm extruded polystyrene 150mm fully-adhered peel-and-stick membrane concrete block 200mm tolerance space 10mm steel stud wall cavity 150mm plywood board 16mm latex paint
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UNCONVENTION Unconvention is a critical reflection on the architectural conventions of Berlin and the ensuing facades. The project consists in playing with those conventions to generate a system suitable for the varied-use buildings of the contemporary city. Two characteristics stood out from observation: the rhythm of repeated windows on a grid, and the depth of facade through the use of prefabricated elements. The format and size of the window was chosen to be neither domestic nor industrial. Two modules alternate: one for scenery and one for natural airflow, both providing natural lighting.
Université de Montréal Bachelor 2nd year spring semester ARC 3105 Form and context Sinisha Brdr 1 week Léon Dussault-Gagné Virginie Toutant sketching Google SketchUp Autodesk AutoCAD Adobe Illustrator Adobe Photoshop Adobe InDesign The mechanism of the ventilation window should be revised. As it stands it is dangerous and complicated, which would be fixed by using topslanting panes. The modules need refinement to avoid wasted space caused by the slanted faces.
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2018 PORTFOLIO
NEUTRAL WINDOW
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VIEWING WINDOW
VENTILATION WINDOW
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WAREHOUSE OF KNOWLEDGE Once safekeepers of printed knowledge, libraries have evolved into spaces of culture and information in all their forms. The contemporary library is a crucial hub of community life, one of the last truly public spaces where people of all backgrounds meet. The warehouse of knowledge is in the borough of Lachine, Montréal. Its structural system was chosen for its versatility and potential to adapt to the future needs of the library. The low profile resists the vertical densification of urban centres, while the green roof guarantees an enduring presence of vegetation in the future.
Université de Montréal Bachelor 2nd year winter semester ARC 2012 Studio 4 Carlo Carbone
NORTH FACADE
10 weeks Myriam Leclair Simon Robichaud sketching physical modelling laser cutter Autodesk AutoCAD Google SketchUp Maxwell Render Adobe Photoshop Adobe Illustrator Adobe InDesign The communal idea could be pushed further by taking the enclosed computer lab, auditorium, and lounge areas, and consolidate them into a large multipurpose stepped space. The roof also requires safety measure to be accessible.
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WEST FACADE
SOUTH FACADE
EAST FACADE
2018 PORTFOLIO
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GREEN ROOF
GLULAM STRUCTURE
CUSTOM STEEL COLUMNS
INTERNAL TOPOGRAPHY
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2018 PORTFOLIO
grass soil 150 mm drainage panel 20 mm particle board 12 mm rigid insulation 150 mm vapour barrier 1 mm plywood 200 mm sandwich panel 86 mm metal plate 3 mm rigid insulation 80 mm metal plate 3 mm glulam beam 150 mm glass 6 mm airspace 60 mm perforated metal panel 3 mm glass 6 mm argon 12 mm glass 6 mm raised flooring concrete slab 200 mm vapour barrier 1 mm rigind insulation 100 mm sand 50 mm compacted gravel 400 mm filling soil
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RAISED HOUSE The raised house was designed for a collector of video material. Opposed to the difficulty of access of the collections of the Canadian centre for architecture, situated in front, the project aimed for an alternative to traditional projection rooms. By raising the townhouse from the ground, the lot becomes a public link between the street and the green alley. The shaded space is suitable for a protected exterior projection room accessible to all, while the position of the home emphasizes the staircase’s importance in the townhouse type.
Université de Montréal Bachelor 2nd year fall semester ARC 2011 Studio 3 Sébastien Saint-Laurent 4 weeks
hand sketching physical modelling Google SketchUp Autodesk AutoCAD Adobe Illustrator Adobe InDesign The roof is problematic to build in terms of snow accumulation and water infiltration. The expensive glass surface would also cause blinding daylight and overheating of the space at daytime, and energy loss at nighttime. Strategic skylights or a sawtooth roof would be better designs.
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2018 PORTFOLIO
1ST FLOOR
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2ND FLOOR
3RD FLOOR
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MAMPEPIN@GMAIL.COM