Portfolio 2023

BASTIEN LEFEBVRE

BASTIEN LEFEBVRE

Summary

Bastien debuted his architecture curriculum in 2017 and obtained his Bachelor of Architecture from ENSAM - National Architecture School of Montpellier, France – in 2020. He was part of the Faculty of Architecture of Ljubljana as an exchange student in 2019.

2017

After his B.Arch, Bastien joined a range of internationally awarded offices: in 2020, he started at Scapelab in Ljubljana and was part of a competition for an underground cinema. In 2021, Bastien joined Coop Himmelb(l)au in Vienna, where he participated in the development of an opera and a ballet centre in Russia. He was later part of MVRDV Paris for the refurbishment and construction of a water plant complex. Bastien joined the Pritzker prize office Ateliers Jean Nouvel in 2022, where he worked in the development of a rock-carved resort and a palace venue in Saudi Arabia.

Faculty of Architecture of Ljubljana, Slovenia, B.Arch RIBA 1

AA - Architectural Association London, UK

He finally entered the AA - Architectural Association - in London in 2023 to pursue his studies within the Diploma program M.Arch|RIBA2 ).

Alongside his working experiences, Bastien participated in competitions such as “Evolo Skyscrapers” in 2022. His work “Décrassage Urbain” was part of the exhibition “Espaces Publiques” curated by Eric Watier in 2019.

2020

2021

2020 2022 2021

Coop Himmelb(l)au, Austria

MVRDV, France

Ateliers Jean Nouvel, France

He is deeply interested in subversive and unconventional opportunities for architecture to burgeon. His strong belief in analytical and processual stratifications often led to the emergence of residual artefacts, errors, and placeholders. Non-linear, unfinished, and ephemeral conditions spearheaded his academic work and his desire to develop eclectic and articulate processes.

He is facile with digital tools & advanced 3D modelling/scripting. Additionally, Bastien masters fabrication tools and techniques such as 3D printing, CNC milling, and laser cutting as tools translate his experiments to the physical space.

Scapelab, Slovenia

ENSAM - National School of Architecture of Montpellier

EVOLO SKYSCRAPER

THE BRIDGE

« “The train has reached the station. I was no longer sure of my adventure when I saw the machine. I kissed Molly with all the courage I still had in my bones. I felt pain, real pain, for once, for everyone, for me, for her, for all men.”»

Louis-Ferdinand Céline, Voyage au bout de la nuit, Denoël, 1932

ARCHITECTURE AND PROTOTYPING

This project proposes tackles recent innovations in 3D printing within design processes. The question of the prototype is critical, as it allows back in forth iterations between designing and critically reviewing one artefact. This pedestrian bridge spans over 30m above a river.

The fluidity of the design and its simplicity are aimed at introducing new architectural forms based on 3D concrete printing, while maintaining an understandable and familiar hierarchy that refers to the geometrical structures of our civilisation. Moreover, large-scale 3D printing requires reflection on the processual support fabrication and the assembly of continuous surfaces. The final object must meet the challenges set by such technology.

Going back and forth between models and drawing, digital and manual, has pushed the question of making into the process, at the interconnection of the different tools at our disposal. Models can be tested and manipulated in a broader variety of ways which brings new elements to the design process.

The design results in a complex yet clearly hierarchically constructed artefact. The form sits in a liminal moment between arbitrary geometrical elements (i.e., Tubular base) and a liquify blob shape. The bridge is a frozen moment of geometry merging yet remaining readable and providing tectonic attributes while testifying of a morphosis toward a fluid shape that unifies the different paths into a holistic object.

The delicate play of light has been the result of several experimentation on model, with the aim of providing a soft shadow cast while directing the look towards the sky the mystery of the other end of the bridge remains and slowly unveils to evoke the brittle and unknown character of everyday life.

University of Ljubljana, 2020

Teacher J. Ličen

Team work Hugo Dellinger Lauralie Chabot

DESIGN DEVELOPMENT & DIGITAL TOOLS

Starting from a tubular form were carried out formal manipulations in parallel with FEA structural analyses, with the aim of limiting the stresses on the structure. First, a twist adds pre-tension to the bridge, then a tension arch in the lower part provides additional resistance. The arch develops a concept of mystery and unknown by hiding the ending of the bridge, therefore letting one choose a path while being guided by the holy light fracturing the bridge’s upper shell.

In order to accommodate enough pedestrians, the bridge is duplicated, spreading out at the middle and joining at its ends. In the middle, a branch allows for a change of “bridge”, while holding the two tubular systems to tackle lateral wind loads.

Then, by extracting the previous data and architectural intentions, the parametric aperture of each panel of the bridge was determined moments that bears a greater effort sees its structural constitution increase, whereas light and open skeleton appears where the views are to be opened and the guiding light provided.

Teacher J. Ličen

Structural analysis using FEA : formal evolutions

University of Ljubljana, 2020

Team work Hugo Dellinger Lauralie Chabot

MORPHOSIS OF FORMS AND FLUIDITY

The fluidity of the form and its openings is certainly the product of the digital reflection. Situated far from the standard industrial system developed by man, this bridge constitutes an envelope which character is close to the functioning of living beings and bodies. Each aspect of the form translates its reality into a world governed by gravitational forces, flows and light.

In the centre, the structure spreads out and leaves a more open view over the river also allowing the wind to pass through. At the extremities, the bridges meet and the lateral openings gradually close, letting the riverbank become the essential element. In the summer, the structure protects from the sun and provides pleasant shade, drawing on the ground the evolutionary pattern of the rhombuses.

University of Ljubljana, 2020 Teacher : J. Ličen Team work : Hugo Dellinger Lauralie Chabot

The crossing, perspective view

Processual model and joint

Assembly intentions diagrams

Final part division

MADRID NUEVO NORTE

« The dimension of depth, always appears in one surface, so that this surface really possesses two values: one when we take it for what it is materially, the other when we see it in its second virtual life. In the latter case the surface, without ceasing to be flat, expands in dept in a fusion of an utopic, intellectual vision »

José Ortega y Gasset, Meditations on Quixote (1914)

MADRID NORTE : SYMBIOTIC LIVING

The process of symbiosis refers to coliving in more or less intimate association or close union of two dissimilar organisms. Urban challenges of the 21st century do not limit themselves to the upholding of mankind but extended to the endorsement of both plant and animal kingdom. Urban sprawl and consumerist/industrial era have conducted to irrevocable changes to biodiversity within buffer spaces between urban civilisation and undomesticated landscapes.

As of repairing biodiversity and ensure its stability, it cannot be limited to preservation : initiative must reach beyond to provide emergency host structures for biodiversity to proliferate within cities, thus bringing the topic of the symbiotic paradigm for mankind to be pursued.

It is within this utopic vision that the project is developed, taking the barren surrounding of Madrid and the existing intention of expansion from the municipality as a base of discussion to make emerge a consensus in which both tangible parameters and utopic visions are brought.

This heterotopy, in the sense of Foucault means a mapping of a utopia onto a physical context, is conducted through a series of systems that are layered and stacked, entwined, intersecting, and expanding one in relation to another.

Through the re-appropriation of the rail tracks, the projects proposes a multiplicity of ways of introducing nature within host structures. Infrastructure plays a major role to interconnect elements while protecting areas from man actions : a significant part of the city is to become an undomesticated garden, seen as a land reserve for biodiversity cultivation.

ENSAM, 2020 Teacher : S.Zakarian Team work : Maja Dobnik

01. The Nature Proliferation, punctual circles of land are implemented around water sprinklers which dictate the shape and area of irrigation. The aim is to recreate a deep biodiversity above the railways through a new undomesticated valley which extend the land reserve of El Pardo Parque, situated north to the area.

02. The Suspended Station, and paths are thought as a new infrastructure layer upon the city. Dedicated to light mobilities and pedestrian, it proposes a new angle on cityscapes while preventing further land degradation. New advancement in textile material technologies enable the use of dihydrogen to lift the lightweight structure of the train station above ground.

03. The Water Dome, and distribution canals are renewed to better preserve the precious water resource that stream down El Pardon hills towards Madrid Rio. The water dome is an infrastructure to collect the rainwater of the neighbourhood to redistribute it to the integrated diverse greenery of Nuevo Norte.

04. The HouseScrapers, are a new typology for dense urban living. Small portions of lands are extruded which preserve a human size infrastructure network on the ground. The city scale feels like an urban village while high density is obtained through high structures. Each floorplan is to welcome a single unit, which fosters appropriation, shared living, and limit noise disturbances.

05. Hills’ Park, is the result of burying the car and heavy transportation systems to give back land to the citizens and the wildlife. Heights differences from the street differs as element of the park are to remain inaccessible to help wildlife to proliferate while other parts are within human reach and provide a communal gathering base precisely adapted for southern ways of living.

06. The Urban Crops, are a series of highly productive farmlands irrigated by the renewed water system. It tackles the challenges of relocating food production within cities and aims at providing vegetables and fruits for the needs of the newly created housing units.

URBAN SYNTHESIS : MULTIPLE SYSTEMS

However, over the last 20 years, Madrid’s urban sprawl has invested the suburban areas with an increase of +105% of the constructed land. In the meantime, the population only increased of + 6% which reveals a major disfunction in the latest urbanism actions known as PAUs.

The Chamartín area is one of the less densely populated districts compared to its closed positioning from the city centre. One of the major reasons behind this has been the fracture created by the railways on the northsouth axis.

In 2019, the project Madrid Nuevo Norte was presented by Rogers Stirk Harbour + Partners which started the design process. Construction should begin in 2021, and may be completed by 2045.

It is within this slow temporality that symbitotic living proposes to introduce questions such as water consumption and urban farming, as well as biodiversity protection and maintain as key elements that would led the design development to remain relevent by its completion.

Moreover, the use of inflatble structures enable temporary and adaptive responses to the fast paced development of cities and their main infrastructures. Slender housescrypers propose a different way of inhabiting density while shifting the paragdime of residential areas. On the ground level, hills localy reuse the exacavated earth and constitute a biodiversity reserve for vegetals and animals.

Finally, the north area is dedicated to be a land reserve to enable further planafications and the potential need for vast farming areas within a close distance from the city center.

ENSAM, 2020 Teacher S.Zakarian Team work Maja Dobnik

Inflatable and tensioned cable structural system

Suspended pedestrian and light vehicles paths

Burried car and heavy vehicles paths Burried High Speed Train lines + Chamartin Station The hills A new urban nature for wild life and gathering spaces

HouseScrapers : A new typology for high density living

THE ARCHIVE

« I am for richness of meaning rather than clarity of meaning, for the implicit function as well as the explicit function. I prefer ‘both-and’ to ‘either-or,’ black and white, and sometimes gray, to black or white. But an architecture of complexity and contradiction has a special obligation toward the whole: its truth must be in its totality or its implications of totality. It must embody the difficult unity of inclusion rather than the easy unity of exclusion.»

Robert Venturi, Complexity and Contradiction in Architecture, 1977

PREAMBLE TO THE DESIGN METHODS

This project proposes to question architectural process by setting a new relation to formal iteration. Non-linear processes are inevitable as we are caught wandering and questioning a usually complex set of topics within one moment.

Embracing non-linear processes often results in a loss of clarity within an architectural discourse : on the other hand, the complexity of knowledge remains at its fullest, which provides a solid and vast set of ideas and concept for the development of a project.

Non-linear processes are not entwined to a singular result or design but rather to a variety of formal productions. Henceforth, it leans on narrative as these can gather a multiplicity of ideas that are not bounded to architectural language. Narrative thus infuses the process with new intrinsic ideas which will later be retained through the morphing into formal explorations.

Finally, plurality and changes are here seen as beneficial to the overall project richness while enabling an exploration of ourselves as a way to construct selfconvictions and procedures to be later pursued.

40*40*100cm model steps : iterating through the assement of tectonic characters

ROOMS AND SCALES OF A CITY

The seminar started with the notion of rooms and scales in the city to introduce the collaboration of the body with its environment. The act of mapping is a human construction that provides an understanding and explanation of this environment, and it has been the very first step to our work.

The following artefacts/models (1) were created to share our comprehension of a set of information that was embedded in the maps. Information was diverse, related to history, art, human existence, sociology, time and space, cultures, and politics. Entering this year was to undertake a process-oriented work, that would create a new realm for developing ways of thinking architecture. The context has been elaborated through our vertical models (2).

These models embed our first intentions for both archives and maps. The 7 resulting models of our groups were then assembled to create a broader set of information to be later extracted through sections and elevations (3).

University of Ljubljana, 2020

Teacher Paul O Robinson

Individual work

Link to online exhibition : http://razstava.fa.uni-lj.si/seminarji/robinson/archive-for-isamu-noguchi/

(1) The act of mapping : models

The tool and the process

through the seminar models : basis for developing the context

The map notions of hybrid

“ There is perhaps an underlying archaeological process to the archive, by uncovering the documents and work of the past. Yet, as the archaeology of uncovering and exposing is predictably seen as linear, archives often form correspondences that are entwined, and further postitioned in multiple layers that form context, and which resonate within the time and space in which archives are being consulted.”

Context model , constituted of ten model parts, 3 of which are translucent and light with a soft sky-blue color

EXPLORING THE EXHIBITION

Within the same moment, we were discovering our artist. The juxtaposed world appended through the life of the artist and his/her artwork involved a new layer of position statements that continuously evolved with time and further investigations.

I was researching on Isamu Noguchi. He was born in 1904 in Los Angeles and is the son of the Japanese poet Yone Noguchi and the American writer Leonie Gilmour. Noguchi became Constantin Brancusi’s assistant in Paris in 1927 and had his first solo exhibition in New York.

His life was dramatically affected by the Second World War, with the internment camps for Japanese americans following the attack on Pearl Harbor, where he was voluntarily interned in Poston, Arizona. Later, the dropping of atomic bombs on Hiroshima and Nagasaki were devastating to his life.

He returned to Japan and his works shifted towards fundamentally opposed practices and thoughts. He as always tried to take sculpture and arts into a broader realm, with works including the creation of theatre sets, furniture, lighting, and the design of public spaces and gardens. He died in 1988 in New York.

The development of an archive for I.Noguchi was set. An archive differs from the archive as the first one developed a set of ideas expressed in an iteration, rather focusing on its essence than its physical existence into an architecture. An archive has established its positioning within the context: its interstitial posture at a threshold space for the context suppose its morphic character and dodging of the realm being hold inside.

It also reaches toward context with its overhang that invites people to enter the space. The exhibition is organized in a vertical motion where visual relationships are widely used to link the different spaces, defined through ideas relating to the artist’s life, art and work.

University of Ljubljana, 2020

Teacher Paul O Robinson

Individual work

The sculpture and the architecture : a matter of scale ? Section for an archive

Noguchi, Riverside Playground, 1965

Fracturing

morphing

The continuous exhibition space

Isamu Noguchi, the life of an artist

DECONSTRUCTING CONTEXT : FRAGMENTS & ARTEFACTS

FRACTURING THE MODEL & INTRODUCING ARTEFACTS

Additional model pictures : https://www.behance.net/Archives-Deconstructed

THE FRAGMENT AND THE ARTEFACT

An artefact has then emerged from the re-exploration of the drawings for the context (p15). The act of fragmenting this artifact and reassembling it has given rise to a new formal lexicon.

The idea of fragment was deeply explored by I. Noguchi through his postwar sculptures. Its essence questions the usual order of items within our world, suggesting that unity is a concept that struggles to appear through the complexity of a world torn apart. The stitch or collage becomes an essential issue for Noguchi, as more and more of his sculptures turn towards the assembly rather than exploring the carved and uncarved conditions.

The terms continuous space, light fracture, fragments, and observation planes constituted an evolutive language facilitating the incorporation of ideas for the archive. From there on, the archive was morphed to better address the major question of the interrelation between archive and exhibition.

The thinking behind artwork now has a chance to pierce the thick-skinned exhibition, and both of the world are proposed to intertwine, to join or even to morph.

University of Ljubljana, 2020 Teacher Paul O Robinson Individual work

Continuous space Context and artefact

Unfolded artefact

Light void

The observation decks

The fragments

PROGRAMATIC LAYOUT AND INTERRALTIONS

1. ∅ 200mm concrete rainwater drain

2. 300mm reinforced concrete slab and supporting wall.

3. Linear floor heater + 360/30mm grating

4. Protective layer + seal + 2*120mm PUR insulation, vapour barrier

5. Maintenance catwalk 360/30mm grating

6. 50mm thk wood based-board

7. 5mm thk carpet tiles

8. Galvanized steel fork connector

9. 400*95mm stainless steel curtain wall spine

10. Tensioned tiebar ∅ 12mm

11. Laminated safety glass, 2*12mm toughened glass sheet + bolted point fixtures

12. Automatic roller textile sunshades

13. Adjustable slab support pads

14. Carpet tiles + 50mm thk wood basedboard with cavity for ventilation and cables.

15. 400*300mm HSS rectangular beam

16. 285mm wide galvanized steel gutter + mesh screen + 360/30mm grating

17. Gravel, protective layer, seal, 2*120mm insulation, vapour barrier

18. Square clamp for glass + stainless steel glass spine system

19. 1100mm galvanized steel railing

20. Aluminium coping + square clamp for glass

University of Ljubljana, 2020

Teacher Paul O Robinson Individual work

The sculpted archive facades sculpture tests

Façade detail proposal for the archive.

01. Within the Castle ruins, an extrusion that sits as solid mass refering to the massivness of the castle. The semantic of power and superiority is here used as the volume is the largest within the village’s walls. In front, the vast meadow act as a scenic place where the confrontation between the isolated world of the castle could wrestle against the life of the villagers.

02. Vertical ascencion, the volume is elevated from the ground as a way of asserting its superiority and power over the village. Views open up onto the landscape and now the tower is no longer an excentric element within the village. The volume gently slices the thick ruin walls, as a new puzzle piece within the village. Finally, part of the volume overhang outside of the fortified wall, increasing the impression of control over the surrounding lands.

03. Angled to the sky, the volume branches at several places and these branches follow a new orientation by pointing to the sky. It gives the architecture a singular holy charachter which refers to the tight bounds nurtured by the catholic church for the past centuries. Sky represent purety, and by refusiing the views upon the land, the architecture can elevate one toward a superior intellect.

04. Parasitic, As a way for the architecture to further influence the well established and static context, branches lower to the ground take root within key areas for the village (i.e, main entrance). The aim is to makes its presence felt within almost any part of the village despite graciously hiding within the ruins. Parasitic renewal can be seen as a reptile that serpentate along the fortified walls.

DISORDER & PARASITIC BEHAVIOURS

The artefact investigates the connexion to the surrounding landscape by proposing to focus on the skies, seen as an everchanging element due to local winds and the absence of pollution.

It proposes a series of 5 housing unit that point in a 30° angle toward the sky, thus the spaces are to be discovered through a vertical ascension toward the sky. It has been a way of introducing a holy character to the project, which is located within an history of catholic protected land and sheltering village for travellers.

Finally, the project expends beyond and pierce the fortified wall of the city : it aims at bridging and creating links to the outside, both physically and within its programming.

Atelier floorplan : a street at the village’s scale

Main volume floor plan (1st floor) access to house units

THE HOUSE

“ The craftsman carries out diversified tasks ; he does not subordinate each of them to the acquisition of raw materials and tools, designed to suit his project. His instrumental universe is closed, and the rule of his art is to manage with limited means as finished sets of tools and materials, heterogeneous because the composition is the contingent result of all the opportunities that have arisen to enrich the stock.”

Claude Lévi-Straus, La Pensée sauvage, Plon, 1960

THE CRAFTSMAN AND THE ARCHITECT

In an highly-defined context, architecture is synonym of finding a poetic, sensitive answer that evokes the village and its history, which has forged its very singular character. The project introduces the architect as a conscious artist who comes to the site to gather the material for his project. Through a sensitive look, a journey through the village is to inspire an ingenious and conscious composition. It is about being aware of what nature gives us to create and the value of what it represents.

The house. At its centre, two exterior spaces welcome a pleasant greenery. This space is the lung of these two habitats; it is all around, and in this fracture between the garden and the thick skin of rammed earth and stone, that the living spaces develop. Upstairs, this skin opens onto the landscape in vast areas dedicated to private offices and ateliers for manual work.

The brief for the project did also involved the architect in a variety of positions. The first position for the architect was to be a counsellor for the association and to lead the development of the project towards a fully understandable and cohesive project for potential investors.

Counsel regarded the architectural respond to the existing ruins and the historical aspect of the village. It also provided subtilities concerning the alternative character of the proposed social organisation. The original idea was to make manual trade mandatory, to prohibit real estate property or sail as well as legacies, or finally to ban self-extension or constructions. These had to be challenged and question to be refined to sound less intrusive for potential inhabitants.

ENSAM, 2019

Teacher : Y. Hoffert Individual work

Happy birthday ! Perspective from the living room

BIOLCIMATIC DESIGN APPROACHES

The beneficial thickness of the earth that makes up the walls creates an enveloping atmosphere, while the rhythm of the woodwork suggests more open and luminous spaces. These are articulated around heights that vary to create intimacy or, on the contrary, spaces to be shared with a greater luminosity. The private garden is a space dedicated to the fullest appropriation of the inhabitant. The absence of partitioning elements in the interior spaces asserts open spaces that can be adapted to changes in use and function in the future.

Bioclimatic design approaches have been used regarding natural cross ventilation, utilizing northern winds to cool the spaces by using the high thermal mass capacity of stone and rammed earth. Apertures on the south are protected by the roof extension, while glazing on the north is limited to smaller areas, especially for the sleeping units. The skylights are pierced on north facing roof slopes to avoid overheating.

Concerning natural light, the light analysis showed that an average of 62% of daylight autonomy was distributed evenly on the living spaces. Criteria implied an occupancy from 7am to 7pm, with >300lux as I wanted to ensure that if the usage were to change (e.g., office spaces or retail) the design would still provide enough natural lightning. Further analysis show that the sleeping units never face over lit situations (>2000 lux). Rotative sunshades have been added to better protect from the sun and to create intimacy from the garden and living spaces when needed.

Teacher Y. Hoffert

ENSAM, 2019

Individual work

solstice angular location = 67°

Cross Ventilation

Thick sunblocking wall on the south, Shaded inner yard for summer use Thk =500mm rammed earth walls for inertia and hygrometry

Naked wood structure

Existing stone ruins

Sound barrier from the village’s square

Only 17% of spaces are overlit more than 50% of the occupancy hours, (none of the bedroom spaces) Occupancy : 7.am to

FROM THE CLOUDS TO THE LAKE

As a commemoration to the destiny changing event that has been the artificial flooding of the valley, one out of the four constructions are to provide a symbolic envelope to narrate the history behind the rebirth of Celles.

As the last drop of water penetrates the vast and calm reflective surface of the lake, a wave slowly emerges and resonates in all of the village. The pitched roof of the construction, made of light and flexible wood structure, henceforth resonate and morphs into a multiplicity of small, pitched roof that flow along the wall towards the lake.

The flow of water can be read from outside as a morphic character where both heritage and history collide. Inside, the running daylight from the opalescent panels replicate this feeling, making the housing sensitive to its surrounding environment.

Channel beams are articulated and tensioned within a cable wind bracing system that maintains the roof as a unified structural element. Roof window delicately open up to the sky, reinterpreting the modern architecture element of “fenêtre bandeau” as a opener to the starry skies at night and exquisite light rays travelling through the inner space in the morning.

ENSAM, 2019 Teacher Y. Hoffert Individual work

LIVING MUSEUM

Competition Terra Viva, Orani - Sardinia

With Julia Wiesiollek, Helena Schenavsky, Stephan Sammer

TAKING ROOT : PROLIFERATION

The beautiful site of Orani is plentiful of treasure from the nature. The fascinating beauty of the grazing light of Sardegna, colliding with the white stones of the village houses and illuminating the narrow streets, has been one magical moment that fostered the use of a delicate translucent fabric to diffuse the sun within our structure.

The living museum is taking root within the earth of Orani, as a centennial olive tree, and its branches support the light inflatable fabric shell which houses the numerous sleeping capsules where the visitors will stay.

The structure evolves along the different seasons : it breathes and blossoms as the spring sparks the summer and cowers when the winter and the rains rush downhills toward the sea. Each capsule is a piece of dream floating under the main tree, where one can find everything, she/he may need to experience the singularity and the beauty of living connected to the nature and the sky.

A delicate inflated shell protects the visitor, which opalescence can vary with the incorporation of an opaque gas in between the two layers of fabric.

Finally, the living museum acknowledges that the museum of Orani needs to be extended to better share the beautiful heritage of its region and artists, which would be achieved through the generous and light continuous space inside the structure, where art and nature could subsist in a symbiotic relationship.

Competition, 2021, Vienna Team J.Wiesiollek, H.Schenavsky, S.Sammer

01. Retracted Museum extension

02. Semi inflated extension

Section through the olive orchard landscape

03. Fully inflated Museum extension, including housing units

“ The main structure is constituent of the permanent landscape. It flows along the slope and mean-ders in between the trees, expanding the architecture outside and onto landscape element where one can sit or lay. From this point onwards, the inflatable shell is part of the temporary landscape. The colour of its reflection manifests the action of nature on human activities, and especially on the arts of Costantino Nivola, through the play of lights, hues, and textures.”

The sketch : piercing ground

The sketch : inflating the museum

ATELIERS JEAN NOUVEL

RESEARCHES

More personals projects including videos, animation, art installations... -> https://www.behance.net/bastienlefebvre