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CV 2-3 Towards A Relational Urbanism 4-7 Last Minute Call 8-11 Adaptive Working Platforms For Brussels’ Urban Productivity 12-17 Redefining Logics 18-23 On Public Space 24-27 Reverse Perspective 28-33

Identity: HOGOSHTI Atdhe 30.04.1993 - Sweden Nationality: Kosovan / Life-long resident in Belgium



Av. Henri Conscience, 41 1140 Brussels, Belgium. 0032 489 57 68 35

Education 2017 - 2018

Master of Architecture - Resilient and sustainable strategies 1st master year - Ongoing studies KU Leuven Campus Sint-Lucas - Gent, Belgium.

2013 - 2016

Bachelor’s Degree of Science in Architecture Graduated CUM LAUDE - September 2017 Université Catholique de Louvain (UCL) - LOCI - Brussels, Belgium.

- 2013

Secondary degree on Science and Applied mathematics A.R. Crommelynck - Brussels, Belgium.


Member of European Architecture Students’ Assembly (EASA)


French / Albanian / English - Fluent Dutch - Intermittent user

Software proficiency:

AutoCAD SketchUp Adobe: Photoshop Illustrator InDesign Microsoft Office

Internships & collaborations Aug-Sept 2018

Atelier Albania - Lakes Distric: Participating on a territorial study on Prespa Lake - National Park of Prespa, Albania.

March - June 2017

urbaplan - Intern architect - Lausanne, Switzerland. Tasks: Masterplan establishment: Eco-district of Plaines-du-Loup: Building programatic superpositions, building density and open spaces research. Romont’s train station: Public space drawing. Neuchâtel: Office interior restructuration project establishment. Hauterive: Peters quarry: analyse and critics of architectural projects. Urban noise protection research.

Dec 2016

Karin Verbruggen - FairB: Designing a shelter for homeless people - Brussels, Belgium.

Workshops June 2018

RE:EASA - Participating at European Architecture Students’ Assambly (EASA) - Rijeka, Croatia.

Sept 2017

Studio 017 Paola Vigano - Espace Bleu de l’Eurométropole / Terre commune: Creating a transborder industrial platform based on sharing resources and services - Lille, France.

July 2017

HelloWood Project Village - Vollunteering and participating at Cross-Section workshop: A territorial and infrastructural approach on the village - Csóromfölde, Hungary.

Oct 2015

La Ciudad abierta de Amereida - Construction of an ephemeral structure/ Workshop in collaboration with the school of architecture and design PUC Valparaiso, Chile - Brussels, Belgium.

Worksite traineeshpis July 2016

Masonry - Restauration of Esseillon’s Forts. 3 weeks worksite traineeship - Aussois, France.

Jan 2016

Construction site supervision - On-site logistics: Store extension. 2 weeks worksite traineeship STRIMA - Brussels, Belgium.

Sept 2014

Carpentry - Restauration of Lohra castle. 2 weeks worksite traineeship - Thuringia, Germany.

Awards April 2016

DOMISUM - Interior planning of a house for disabled persons. Honourable mention - 4th prize - In collaboration with Baudouin de Villenfagne - Louvain-la-Neuve, Belgium.

Publications Oct 2018

The Loop Masterplan - KULeuven group work / Presentation of the strategy to the municipality of Gent, Belgium.

June 2018

Lessons in Urgency - On Skanderbeg Square, Tirana - 51N4E.

July 2017

ArchDaily - Students Construct 7 Inhabitation Structures at Hello Wood’s 2017 Project Village.


Towards A Relational Urbanism

Program: Materplan implementation Location: Lausanne, Switzeland Client: City of Lausanne Project:

urbaplan S.A.

Year: 2017

Users Public authorities Resources Developpers Experts Creativity workshops are a tool built by urbaplan in order to bring together different actors in the process of project development. The aim of creativity workshops are providing shifting due to the timeliness, ensure the work quality by the enlargement of competences and integrate external criteria.

Last Minute Call

Program: Office interior restructuration project establishment. Location: Neuchâtel, Switzeland Client: urbaplan S.A. Project:


Year: 2017

The project was initiated after urbaplan’s demand to redesign the working space of the Neuchatel’s branch. The aim of the proposal manly consists on the rearrengement of distribution spaces in order to meet the demand which consists on providing an open-plan working space, an office, a conference room, a dinning space and a reprographic room. Therefore, a series of walls are torn down in order to open the space enabling the creation of three other new spaces.



Adaptive Working Platforms for Brussels’ Urban Productivity Active population / Brussels North, 2012 Active population / Brussels North, 2012





High rates of uneployment Only 4/10 of adults are emHigh rates of uneployment ployed, when it comes to Only 4/10 of adults are emwomen only 3/10 works ployed, when it comes to women only 3/10 works 93% of the unemployed do not have a diploma degree 93% of the unemployed do of higher education not have a diploma degree of higher education Population age - Man population peak of 35-45 year old Population age - Man population peak of 35-45 year old

Blue collars 2/3 Blue collars 2/3

White collars 1/3 White collars 1/3

Active population / Brussels Region, 2012 Active population / Brussels Region, 2012






Eohemeral urban productivities – The Architecture and Territorial Organization of Urban (Informal) Markets

Location: Factory platform, Brussels Project: Individual Year: 1st year master 2017-2018 Duration: 10 weeks

Brussels is a city with a hefty industrial heritage crossing the heart of the city from north down to the south going along the canal. This presence of industries gives to the city an asset for corperations, sharing space, shortening chains, closing flows,... Still, Brussels experiences a huge gap between the thinkers and the doers. Even if the industry flourishes inside the city, the doers still cannot find their place in the city. Notably, Brussels North is confronted with serious socio-economic issues. The neighborhood is home to a considerable number of new comers and at the same time undergoes high unemployment rates. It obviously lacks on relevant training courses and hand working spaces. Therefore, the city needs a new breath on its industrial zone. Creative and alternative working environments are needed in order to build the next economy. The industrial heritage must be revitalized.

Brussels’ Economical Zip Urban fabric

Economical area with a high presence of industries



Working days

Working days

Sunday market 15

Redefining Logics



Interface between architecture, landscape and urbanism

Location: Flyover B401, Gent Project: Individual Year: 1st year master 2017-2018 Duration: 10 weeks



A city is a place of articulation of roads, squares, passages... guiding the rhythm of a body on space. Walking. Resting. Discovering. In short, this is how I define serendipity, an elementary component on the city making. Redefinging logics, not the one of the users but the one of the precedent designers, with the intent to stimulate, offer, the experience of serendipity, is the aim reached through ponctual interventions. Walking. Resting. Discovering. A set of walls is put on place in order to limit the perspective and put the intention on the existing elements of the area.




On Public Space

Program: Patrimony Location: Ixelles, Brussels Project: Individual Study year: 3rd year Bachelor 2015 - 2016 Duration: 5 weeks

‘‘the architect is no more a miracle-worker than the sociologist. Neither can create social relations’’ - Henri Lefebvre However, by upgrading the public space around the church, which has got all the features required to become a user-friendly space, we can leave place to the social relations occur naturally. At the same time, a stepfree area would highlight this monument in its urban context, by extending its edges to the public realm.


Reverse Perspective

Program: Architeceture & Art Location:

Ferdinand Lousbergkaai 21 - 9000 Gent Project:


Year: 1st year master 2017-2018 Duration: 10 weeks

“There is nothing specific about the zone. It’s purely a place where a certain limit is set. You set a limit, you put a certain zone off-limit, and although things remain exactly the way they were, it’s perceived as another place. Precisely as the place onto which you can project your beliefs, your fears, things from inner space. In other words, the zone is ultimately the very whiteness of cinematic screen.” Slavoj Zizek - The Pevert’s Guide to Cinema (2006)

disturbed in psychological and physical way, are explored. But the silence keeps repeating itself... and the inescapable tension of the frozen movement remains. While the silence is the main driver, the tension between the body and the mind wants to reveal the memory of what is lost. The two brands, reflect the light as to project the memory anchoring this writing into a specific temporality - a precarious one. In this delicate time the light shrinks enclosing the memory between the walls. Some words appear. But still, they are inexplicable. In the other side, bodies remain rigid. Words do not explain anything. Whispers stagnate... “I am not creating. I am remebering.” As Anri Sala does in his film “1395 Days Without Red” I am trying to remember

Do our bodies remind in a different way from our minds? It is a question that Sala through bodies, walls, objects,...

asks through his work. “A body produces a choreography instead of producing a verbal discourse”- he mentions. The image in movement. Even in its absence, the expectation of it absorbs completely the viewer - the tension between the body and the memory invites the one to meditate on its absence. As the space is filled by the emptiness, the muffled filling sets up the strain. Memories are torn apart! Bodies lay down! The view ends into a wall enlightened by an artificial subdued light. The space runs over the body as if it wants to wave - wave on the ground. The two contrasts use this tension between them to create a multitude of temporalities as if they want to unleash a howl wanting to discharge from the emptiness, not only from the emptiness of the present but also from its own origins, treating the components of the present time and the space around it as a part of an abstract composition evoking disturbing feelings. The relation I want to settle with the reader does not only emerge from the willing to tell a story, it mainly wants to originate a feeling. This engagement gets more and more complex with the time as the child’s potential to see beyond the superficial information and interpret the surrounding in order to unmask the contrivance. Into this obscure landscape the body affects,

Words are back! But even if they take controle over the space, they do not take over the reality since the bodies excavate more deeply on the uncontrollability of the upcoming rumour. Still, this parallel reality remains less complex compared to the real situation. We are accompanying these two realities transposed to one being who wants to manipulate with both of them.The question would than be, at what point our bodies influence on what do we see or perceive? Or better

how do our bodies convey informations on the comprehension of the surrounding context and situation? How do we mato say,

nipulate the reality?

“On ne peut voir celui qui regarde. Mais on ne peut entenedre celui qui écoute” - Marcel Duchamp One step... another follows. Someone joins. Another screams! The crowd fills the space. The logic of transposing the idea of control, the power, to the engagement in space of the protesting masses overcomes the last one. But the idea of controlling the uncontrollable goes beyond the reality. It only reinforces the mass and its will to reverse positions. This duality suggests a dreamlike environment more than a concrete reality, as if the conductor was distracted by the event happening on the scene and around it. Everything seems to emerge from a semi-conscious moment of slumber and imagination. The sound disapears bringing the intention back to the masses, becoming the main visu-

al stream which provokes an erratic, a vague situation leaving place to numerous hypothesis. The one looking to you, can he understand what your intentions are? Can those intentions be predicted? Can one hear your thoughts? The two realities confronting one another seem to be postponed and offset in their actions drifting out the focus. The image shifts, worsening the discomfort of hearing a language dawn by domination and oppression. The darkness covering the masses serves a metaphor for the body language. Translating this to the space, there is a creation of here and there. We lie here but our eyes guide our bodies always there as the two contexts require a new definition... a definition of experiencing pressure. Therefore, the use of the silence and the collaboration of it with the remaining objects and space does not ensue from a particular enthusiasm. It does not result neither form the will of documenting a given period. As the memories are gone, so they cannot be spoken, I am trying to lay them down in form of words as to materialise what is lost. Although, what has been lost can be found? The place that the silence leaves to the reader enables an acute perception on the situation. It appeals the same questioning of the common assumption reaching a societal scope - is the revolution over? Overall, the remaining silence is the only truth to be questioned. A truth that is not modeled by the soundscape of propaganda, the discourse, overshooting the power of language. While silent, the space becomes a story in the moment when the popular movement takes place. The motion of the bodies, as the motion of the sea, freezes everything around. Running to the altar, in front of the piazza, under the dome, in front of the fountain... each step is uncontrollable. During this movement, history is being unfold, a history based on different perspectives, on a series of trompe l’oeil and forced projections. The perspective of the one holding the power is confronted with the one of the wave taking over the public space. Sure, all this leads into a sort

The path is theatricalized as to stimulate a story, where

through scripted spaces the crowd holds the main role. In this urban atmosphere, the image emerges, disappears and renews itself, revealing a conscience on the controllability of the city. While disoriented we per-

ceive things that we did not noticed before. We hear sounds that we never hear and we meet people that we never saw before. What does the fictive image of the city that a inhabitant has created becomes at this moment? All this gives the possibility for new narratives. The city becomes than a compressed space perpetually changing. The rhythm of the body is guided through the space by the orchestration of the sound, of the images and the movement. Under a series of events, every body follows the same choreography, giving the notion of time to the space. Articulating the scepticism towards language, the silence conducts to the other side of the space. Blurring the perspective, we tend closer to the possibility of hearing the bugging as to perceive the projection of an inner psychology of an indoctrinated mind following meticulously the instructions as to deform the reality. There is the possibility to confound the vision with the comprehension because what is visible is not always real. Now I am interested in what you cannot hear since I do not believe on what is audible. The inaudibility is the opposite of what is audible, on the other side of the abstract dimension. As to awake the truth, the silence remains so what is audible maintains its audibility.

In this cul-de-sac, what remains after the revolution is over?

of a guided narrative.


Abandoned hotel / Albania - 2015


Atdhe HOGOSHTI - Architecture portfolio - Last update: October 2018.

Atdhe HOGOSHTI - Portfolio  
Atdhe HOGOSHTI - Portfolio