Raphaël Fenoglio | Buildner Portfolio Competition Edition#3 Winner

+ PORTFOLIO

2023

LANGUAGES FRENCH ENGLISH SPANISH GERMAN

AWARDS 2022 PRIX DES DIPLÔMES, «COMBINATORY LANDSCAPE», Maison de l’Architecture IDF, Paris 2021 1ST PRIZE, Musée Pablo Picasso, Paris, Forme architecture 2020 2ND PRIZE, «GRANARY FACTORY», Non-Architecture 2020 HONORABLE MENTION, «CONTROLLED ATMOSPHERE ARCHITECTURE», Architecture Eyes competition 2019 PRIZE, «BORDEAUX DANS LES COURS», MVRDV

SELECTED PUBLICATIONS 2023 «EVERYTHING, EVERYWHERE, ALL YEAR LONG*», Dropcity, with Colectivo Talacha

PROCESS

2023 «ATLAS OF INLAND SEAS, GEO-POLITICAL STAKES», autoproduced publication

PROCESS

2022 «COMBINATORY LANDSCAPE», Maison de l’Architecture IDF 2021 «NO STOP CITY, REASSIGNING OUR INDUSTRIAL HERITAGE», ENSA-V 2020 «GRANARY FACTORY, GLOBAL FLUXES IN LOCAL ECONOMIES», Non-Architecture book 2020 «CONTROLLED ATMOSPHERE ARCHITECTURE», clarìn magazine s-a

EXHIBITIONS 2023 «EVERYTHING, EVERYWHERE, ALL YEAR LONG*», Tokyo, Japan, SKWAT 2023 «EVERYTHING, EVERYWHERE, ALL YEAR LONG*», Milano, Italy, Design Week 2022 «COMBINATORY LANDSCAPE», Paris, France, Maison de l’Architecture IDF 2020 «NO STOP CITY ?», Movie realisation, Versailles, France, ENSA-V

WORKSHOPS 2019 JAPAN - Renovation of a traditionnal wooden japanese house, wood joints crafts, furniture making

LEAD

2018 CAMBODIA - Library construction, wood joints craft, foundations and earthworks

LEAD

RAPHAEL FENOGLIO raphael.fenoglio@gmail.com +33 6 4141 4558 / +52 55 5418 6865 EDUCATION 2019-2021

MSC IN ARCHITECTURE, «WORLDS OF CO-EXISTENCES», ENSA-V

2018-2019

DOUBLE MASTER IN ECONOMICS, ESSEC, year 1

2015-2018

BACHELOR IN ARCHITECTURE, ENSA-V

2013-2015

BACHELOR IN MODERN LITTERATURE, SORBONNE PARIS IV

BACKGROUND 2021-....

USI.NATION, FOUNDER CREATIVE DIRECTION ARCHITECTURAL, DESIGN AND RESEARCH STUDIO BASED IN PARIS (FR) AND MEXICO CITY (CDMX). VAST RANGE OF PRODUCTIONS, FROM EXHIBITION PIECES, COMPETITIONS, TALKS AND PUBLICATIONS

2022-....

LOCUS, ARCHITECT PROJECT LEADER - CREATIVE TEAM RESEARCH ON REGENERATIVE PROCESS, WOODEN ARCHITECTURE PROJECT INTERIOR DESIGN AND PRODUCTION OF FURNITURES (FF&E) COMMUNICATIONS, PRESS AND CONFERENCES

2021-2022

AMBROSI | ETCHEGARAY, ARCHITECT SUPERVISION OF THE APD AND DESIGN PHASES OF CULTURAL, RESIDENTIAL AND OFFICE BUILDINGS RESEARCH ABOUT POST-INDUSTRIAL TERRITORIES AND THEIR SCARS CYCLES, LISBON ARCHITECTURE TRIENNALE RESEARCH

2020-2021 FORME ARCHITECTURE, JUNIOR ARCHITECT FURNITURE COMPETITION FOR THE PABLO PICASSO MUSEUM SHOP IN PARIS, PROCESS OF CONSTRUCTION WHEN WON. HOUSING COMPETITION IN PARIS. SKETCH OF AN INDIVIDUAL HOUSE IN THE PARIS SUBURBS 2019-2020 MVRDV, INTERNSHIP HOUSING COMPETITION IN BORDEAUX AND BRUSSELS. RESPONSIBLE FOR THE APPLICATION FILE FOR THE RENOVATION OF THE LA GRAVE HOSPITAL IN TOULOUSE, FRANCE RESEARCH ABOUT ACCESS TO SPORT AND MOBILITY, BERLIN 2018-2018

FREDERIC LONDEIX, INTERNSHIP RESIDENTIAL PROJECTS, PRIVATE HOUSES AND FLATS UNDER CONSTRUCTION OR DESIGN PHASES CONSTRUCTION SUPERVISION (3 MONTHS)

SELECTED PROJECTS

MILANO DESIGN WEEK 2 plans

MILANO, IT

EXHIBITION

COLECTIVO TALACHA

MUSEUM OF CARTHAGE 6 000 m2

TUNIS, TN

COMPETITION

LOCUS

CASA GIRASOL 580 m2

VALLE DE BRAVO, MX

IN PROGRESS

LOCUS

ECO-PAVILLON 500 m2

MEXICO CITY, MX

COMPETITION

LOCUS

BIENNALE OF ARCHITECTURE 40 m2

LUGANO, CH

COMPETITION

USI-NATION

SWIMMING POOL 2 500 m2

NACOZARI, MX

IN PROGRESS

AMBROSI | ETCHEGARAY

PAVILLON 10 m2

CHAMBON s/L, FR

IN PROGRESS

USI-NATION

OFFICES 1 000 m2

CDMX, MX

COMPETITION

AMBROSI | ETCHEGARAY

TRIENNALE OF ARCHITECTURE 9 m2

LISBONNE, PT

EXHIBITION

AMBROSI | ETCHEGARAY

COFFEE 500 m2

HVERFJAL, IS

COMPETITION

USI-NATION

HOTEL 3 000 m2

CDMX, MX

COMPETITION

AMBROSI | ETCHEGARAY

HOTEL 6 000 m2

QUINTANAROO, MX

COMPETITION

AMBROSI | ETCHEGARAY

HOUSE 450 m2

AGUASCALIENTES, MX

IN PROGRESS

AMBROSI | ETCHEGARAY

CULTURE 1500 m2

BALLENA, MX

IN PROGRESS

AMBROSI | ETCHEGARAY

APPARTMENT 120 m2

PARIS, FR

BUILT

M-L-G

NORTH SEA 1 plan

ROTTERDAM, NL

EXHIBITION

USI-NATION

NORTH SEA 1 plan

PARIS, FR

EXHIBITION

USI-NATION

MUSEUM 400 m2

PARIS, FR

BUILT

FORME

HOUSING 2 800 m2

SAINT-DENIS, FR

IN PROGRESS

FORME

APPARTMENT 110 m2

PARIS, FR

BUILT

M-L-G

HOUSING 6 000 m2

BORDEAUX, FR

BUILT

MVRDV

OFFICES 30 000 m2

MONACO, MC

IN PROGRESS

MVRDV

PARC 300 000 m2

BRUXELLES, BX

IN PROGRESS

MVRDV

PLAY AREA 1 000 m2

BERLIN, DE

BUILT

MVRDV

MIXED-USE 8 000 m2

TOULOUSE, FR

IN PROGRESS

MVRDV

APPARTMENT 220 m2

PARIS, FR

BUILT

FREDERIC LONDEIX

APPARTMENT 340 m2

PARIS, FR

BUILT

FREDERIC LONDEIX

INDEX

PROFESSIONAL. PART 1 CASA GIRASOL P. 8/13 GUYACAN PAVILLON P. 14/19 CARTHAGE NATIONAL MUSEUM P. 20/25

ACADEMICS. PART 2 COMBINATORIAL LANDCAPE P. 26/33 NO STOP CITY ?

P. 34/41 ATMOSPHERE HOUSE P. 42/47

ANNEX. CONTACT P. 48/49

CASA GIRASOL A HOUSE FOLLOWED BY THE SUN LOCUS* WITH DELLEKAMP ARQUITECTOS JULY 2023, MEXICO

PART 1.

IN PROGRESS - DELIVERY AUGUST 2023

FIG 1 Global volcanism program Carthography «Mexico City and its surroundings» 8

To achieve this, a traditional house-patio typology was chosen, but with a less traditional geometry, an incomplete ring open to the south. Through this unique gesture it is possible to embrace the forest and direct the interior views to the less intervened areas of the complex.

The project is located in a gated community in the wooded area of Valle de Bravo; with the intention of being a house to rest.

The materiality responds to the dual relationship between base and roof.

The former, made of earth-toned pigmented concrete, emerges from the ground to contain the rugged topography of the site.

Its name refers to the main intention of the project, to capture as much sunlight as possible, in order to passively counteract the cold and rainy climate.

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FIG 1 LOCUS Photography «Exterior facade of the house» FIG 2 Raphaël Fenoglio Plan «Plan of the house, interior design» FIG 3 Sana Frini Photography «Wooden molds of the concrete shell» 11

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FIG 1, 2, 3 LOCUS Photographies «Construction of the framework» FIG 4, 5, 6 Raphaël Fenoglio Renders «Interior views of the project» 13

GUAYACÁN PAVILLON A NURSERY FOR THE GUAYACÁN AMBROSI / ETCHEGARAY FEBRUARY 2018, MEXICO

PART 1.

DELIVERED

FIG 1 UNESCO Botanical Illustration «Yellow Guayacán» 14

The pavilion is an expression of materiality and space itself, where architecture, in its transition through space and time, benefits from its deterioration or assimilation to the landscape, to nature, to the origin of all things.

With the aim of protecting the species, Casa Wabi decided to create a nursery for the care and reproduction of the Guayacán.

Here, architecture is simply a means of expressing nature, allowing for closer interaction with the trees in order to perceive temperature, atmospheric humidity, air flow and the relationship between species and the water table.

In order to protect the species, Casa Wabi has decided to create a nursery for the care and reproduction of the Guayacán, an endengered species.

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Touch a tree at night.

What does it tell you?

Now place your ear on the trunk. What do you hear? Do it again in the morning, during the rainy season, in the following months, during the dry season.

What’s different? Isn’t it obvious that everything is change? That we should all go from heat to cold, from water to thirst, from presence to emptiness, from life to death?

FIG 1, 2, 3 Sergio López Photographies «Pavillon Guayacán» FIG 4 Ambrosi / Etchegaray Text «Touch a tree» FIG 4 Ambrosi / Etchegaray Plan and longitudinal section «Pavillon Guayacán» 19

BYRSA, TOPOGRAPHIES OF AN ACT OF REPAIR CARTHAGE NATIONAL MUSEUM LOCUS* WITH PHILIPPE RAHM ARCHITECTES, STUDIO METEORES JANUARY 2023, TUNISIA

PART 1.

4TH PLACE WINNER

FIG 1 J.Basire Carthography «A map of Africa proper and Numidia» 20

LOCUS’ proposal, in collaboration with Studio Météores and Philippe Rahm Architectes, “Byrsa, Topographies of an Act or Repair” was awarded 4th place. The project proposes a 20 point strategy that sensitevely responds to the site context from its historic occupations, its geography and climate as a complex ecosystem, to the contemporaneity and its sociopolitical implications. The architecture use earth brick as its main building material, through a progressive structural system that generates light geometries that enhance the preexisting architecture and the natural landscape.

Situated on top of the Byrsa hill, in Tunisia, The project proposes solutions to reunite the existing and reinvent vernacular processes.

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FIG 1, 2, 3 LOCUS Renders «Exterior views» 23

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FIG 1 Raphaël Fenoglio Axonometry «New building axonometry» FIG 2, 3, 4, 5 LOCUS Renders «Interior views» 25

COMBINATORIAL LANDSCAPE MASTER THESIS WITH VICTORIA LIOTIER TEACHED BY NICOLAS DORVAL-BORY, FRANCOIS CHAS JULY 2021, NORTH SEA, EUROPE

PART 2.

AWARDED BY THE «PRIX DES DIPLÔMES, MAISON IDF»

FIG 1 NASA Aerial photography «Saharian sands over the North Sea» 26

Today, almost half of the world’s population lives in coastal areas.

Opposite these gigantic metropolises is the largest uninhabited area on the planet: the sea. Whether cultural, physical or imaginary, our relationship with the maritime environment is contradictory. We hear the warnings about the state of our oceans, we share the need to protect them. And yet, our contemporary lifestyles are leading us ever further into the exploitation of their resources.

This observation has guided our research on the use we make of the oceans.

The North Sea was chosen as the study area, an environment that is both hostile and productive.

This project, aiming to understand the dynamics at play in the sea, imagines new coexistences between productive areas and environments to protect.

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MAP OF ENERGY EXPLOITATION IN THE NORTH SEA / 1 : 5 000 000 28

Combinatory Landscapes is a project whose source lies outside the classical architectural field. At the beginning of this research, we wanted to question the paradoxical relationship we have with the maritime environment, especially according to the two terms that are most often associated with it today: exploitation or protection. The interstice between these two actions seemed to us to tip over into an architectural field of study.

Our object of study, the North Sea, presented several factors that helped us to move forward.

Firstly, because we were able to travel there for some time, document it and bring back part of our analysis book entitled «2434 Kilometers». It is also a major seaway for Europe and the world economy, a site of intensive fishing, and above all of very important energy exploitation with gas and oil extraction sites throughout the territory.

Industrial infrastructure and human activity are therefore very important. There are thousands of kilometres of pipelines in the North Sea and 438 offshore oil and gas platforms, of which only twenty-seven are built with gravity structures with concrete pillars. It is a strategic point from an economic point of view, but this exploitation strongly affects the environment.

The lever came from the case study of oil and gas platforms. The OSPAR Convention (Oslo-Paris), signed in 1992, sets out the terms and conditions for the exploitation of energy reserves throughout their life. Once the consignment is completed, the convention recognises two scenarios: - If the platform is made of metal, the site must be rehabilitated. If the platform is made of metal, the site must be rehabilitated, i.e. the entire structure must be removed from the sea, dismantled and the wells filled in. The average cost of this type of operation is around two hundred million dollars.

-If the platform is made of concrete, the structures have to be cleaned, the concrete feet If the platform is made of concrete, the structures must be cleaned, the concrete feet plugged and the column can remain in place.

With the staggering cost of decommissioning oil rigs over the next 30 years running into the hundreds of billions of dollars and the impact on the environment and taxpayers, this maritime issue has suddenly come closer to home.

In the first, the project consists of developing a scientific study centre in one of the legs of such a platform. The chosen site is located four hundred kilometres off the coast in Dutch territorial waters.

The programs extend vertically. Above the water level, the floors related to life: housing, kitchens, entrance. Above water level, the floors related to the observation of the environment: laboratory walkways, etc.

In the second, the metal platforms have to leave the sea. They had to be given a new role in the economy and a place in coastal urban planning. Their integration into the landscape of the enclosed Ijsselmer Sea in the Netherlands is explained by two factors. The reclaimed water lies between three highly productive polders and a dike controls salinity. Finally, it is an area that is highly connected to the European canal network. European canal network.

The platform becomes a seaweed farm that accommodates about 30 people. There are three main parts: the platform, the tower and the legs. First of all, the platform has a surface of 5000m2 and a height of about 8m. Thus, its inner level would serve as a link between the different stages of the seaweed’s life, from its birth in the nursery, to the lines in the sea and the post-processing: washing, drying, crushing, packaging and shipping.

The former drilling tower becomes the accommodation for the algae farmers. Where the plateau has a horizontal relationship with the water, the verticality of the tower is amplified by a water tower function. The water is drawn from the Ijselmeer, and after passing through a first technical floor, it rises in the tower through a central pipe which organises the arrangement of the houses around it, to a storage tank at the top. Life is organised around this pipe by special uses: communal bath, kitchen, gardens and bathroom.

This project explores the possibility for an extractive technology that is passive with respect to the ecosystem to become active.

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SITE PLAN OF THE SCIENTIFIC CENTER / 1 : 50 000 30

SITE PLAN OF THE SEAWEED FARMS / 1 : 50 000 31

SECTION DU CENTRE SCIENTIFIQUE / 1 : 200 40

COUPE DE LA FERME D’ALGUES / 1 : 200 41

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FIG 1, 2, 3 Pierre-Louis Mabire Photographies «Combinatorial Landscape» 33

NO STOP CITY ?

POST INDUSTRIAL DYNAMICS TEACHED JEREMY LECOMTE, OCTAVE PERRAULT JUNE 2020, TEXAS, USA

PART 2.

PUBLISHED IN «GLOBAL CHARACTER», ENSA-V, 2022

FIG 1 Raphaël Fenoglio Photography «East to West railroad» 34

While we often continue to associate urbanisation with the city, we are now also seeing that the phenomenon we are experiencing goes far beyond this historical association. Rather than a simple movement of physical extension of the city, the key words of which would be metropolisation, megalopolisation, peri-urbanisation and urban sprawl, we are confronted with a double movement of dilation and intensification of what appears to be a much more encompassing condition.

This work consists in questioning, from the singular situation of Marfa, Texas, dynamics whose global character does not depend on the scale considered.

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OPEN REPRESENTATION 38

Marfa was never a productive town. Built in 1883, the town served as a water supply station along the railway. Originally crossing the United States from east to west, the rail line was the link between the country’s major ports, such as Los Angeles and Jacksonville. This line still exists, but its course has been reversed due to the new productive trade flows from Asia.

This water station was extremely useful for the development of the city, which was concentrated around one activity: military storage. The area was considered a base, with many different buildings all around the grounds. The area was also very useful during the Second World War, training several thousand pilots, just before its closure in 1945.

After being in danger of becoming a ghost town, Marfa took a new turn in 1971 when Donald Judd moved in. The internationally renowned artist, a leading figure in the minimalist movement at the time, began buying up homes throughout the city. From then on, Marfa benefited from the presence of this artist and became a tourist destination. The cultural appeal of Donald Judd was complemented by the famous film Giant, which was shot in the city in the 1950s.

However, since 1955, the town has been home to a remarkable factory, Godbold. Specialising in the manufacture of building components, this company is located on the side of the railway line, south-west of Marfa. At least until November 2018, when the company closed its doors, leaving behind an empty building that was supposed to become an exhibition space.

It was this conversion that caught my attention when I discovered the city of Paris before I went there. When I arrived, I was surprised to discover that in reality this factory would never become an exhibition space but a distillery producing a local alcohol, Sotol.

Opposite the future distillery is The Block, a former pre-war military depot. Purchased by Donald Judd, these brick warehouses have retained their original style, although Judd has made some alterations. For Judd, it was above all a place of experimentation. A living space where he was able to develop a parallel approach to art on a scale never seen before. He spent his life theorising an art in which the artist commissions companies to produce his work. In this way, the artist focuses on the intention and the production is delegated to professionals. Some of his works, which were mass-produced by local companies, are still on display in the building and in the city.

The production system in West Texas is not limited to construction. Agriculture is very present in the region and producers are organised around cooperatives. At 305 W El Paso Street, the largest of these warehouses serves farmers throughout the region. Crops are stored here until they are shipped across the country in containers. These containers are then replaced by others that bring new seeds. The turnover system is extremely sophisticated, so that the crops are never stored for too long. In addition, all the materials needed for cultivation are available for loan from the warehouse.

We could see this sample as a historical stratification of industrial development. Whether military bases, exhibition spaces, factories, hangars or exhibition and living spaces, these architectures all have the same appearance. Built decades ago, their orthogonal geometry seems to absorb all the changes of use and the acceleration of flows. They are the physical representation of the abstraction of the capitalist system. Thus, the box buildings house container boxes, which house pallet boxes that transport goods boxes.

These architectures continue to function throughout the ages without marking. Thus, the former Godlbold factory reinvents itself and becomes a distillery for Sotol, the hyper-local alcohol that is about to become the new trend in the great hyper-global metropolises. The agricultural warehouse is in constant operation, housing seasonal crops that are traded in Chicago at the grain exchange and then disappear for consumption around the world. The former military buildings have been transformed into a contemporary art space. Frozen in time according to Donald Judd’s wishes, they are a reminder of the shared heritage of industry and market sensibilities.

Their respect for the codes and norms of globalisation has allowed these constructions to remain useful in all phases. There is no hyper-global without hyper-local.

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FIG 1 Trevor Paulhus Photography «Freight line Box Cars» FIG 2 Raphaël Fenoglio Photography «Donald Judd, Chinaty Foundation» FIG 3 Raphaël Fenoglio Carthography «Marfa and its surroundings» 40

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ATMOSPHERE HOUSE LIVABLE GREENHOUSE COMPETITION APRIL 2020, CHINA

PART 2.

CLARÌN MAGAZINE S-A

FIG 1 Raphaël Fenoglio Model picture «View from the entrance» 42

This project, conceived for publication in Clarin magazine, looks at the possibility of building in an urban environment while radically transforming the traditional vision of the single-family home.

It develops a utopian response to two major contemporary issues: energy and nutritional needs. These two themes give rise to a self-heating, self-sufficient greenhouse house that places the inhabitant between heaven and earth.

Simple technological devices and a steel structure guarantee its smooth operation and adaptability.

This house is inspired by vernacular and high-tech technologies, a hybrid entity functioning as a machine house, in the service of a generous frugality.

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PLAN / 1 : 50 44

« Mei is sitting on the ground. With her hands clasped at the entrance to the well, she looks at the clear water flowing in a small stream. The earth is slightly red at this point. The silt, deposited by the river when it carved out the valley, is of high quality and, fortunately, this bank has not been polluted by the years of city expansion. Plants are growing fast. Everywhere the land is covered with flowers and fruit. The harvest is getting more important every day, because the reserves are running out...

The wind blows between the glass shutters. It plays like a child, slipping between the panels we leave open, changing direction continuously. As I walk through the house to the bedroom, memories of walks in the hills come back to me... The house looks like the tree houses we used to build, with its suspended floors... »

FIG 1 Raphaël Fenoglio Plan «Plan of the house, 1/50» FIG 2 Raphaël Fenoglio Render «House in its environment» 45

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FIG 1, 2, 3 Victoria Liotier Photography «Mediterranean landscape» 48

Contact : Raphaël Fenoglio raphael.fenoglio@gmail.com +33 (0)6 41 41 45 58 Address : 39 rue Notre Dame de Lorette 75009, Paris 351 calle Campeche 31600, Mexico City Credits : All images were produced by Raphaël Fenoglio (@Usi.Nation.eu) (@Colectivo Talacha) (@Studio 9196) Unless specified 49

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