The draft (l’ébauche)
Through few projects, I try to expose two ways to approch the space question. They are naive but aware of the complexity of the architectural practice and I cultivate this naivety in the optics to keep a certain freshness and a freedom in the process of creation. Through my work, beyond theoretical considerations, I try to develop a spatial material, not empty, not full but a space textured by both. In this draft of my work, I approach urban scale, public space scale and architectural scale, there are not my favorite projects, but the most significant of my methodology. Thinking that a recurring process is also a cause of normalization, I try to develop differents ways of reasoning to create a library of methodologies and process. I could approach any project choosing that more adapted one. The projects that follow are grouped into two sections: city puzzle and experience of moment. The first ones are those where the idea is to integrate 5
the architecture in one existing, urban or other meshings, an architecture articulated according to the spatiality of the place and the programatiques questions, as if it was a question of fixing or of optimizing the context. The second ones are centred around a dissociation of ‘‘the shape in the context’’ - ‘‘the spatiality interns’’. In those, I try to work a place made by scenarios and moments when the spatial experience is totally mastered and autonomous. Alexandre Lhussa.
Imprint pavilion Old architect: -Put an object here! Young architect: -I don’t want to, I prefer... O a: -Nobody cares about what you want, put an object, that’s all! Y a: -For one time, I’ld like to make something in vibration with the park not just put without reason. O a: -Oh, and how will you do mister genius? You’ll give it birth from the parc? (Sneaky laughter) Y a: -Yes, that’s the idea!
This park is outside of the city center, in a residential area, between an old Citadel and a wild island. Itâ€™s used as a point of view and a soft way in particular by the lock and the ravel (a bike course). The pavilion is created as a 3D imprint adapt to the views and the flows and allowing a good acoustic to the festive activities. The wood minimalist structure allowing to clean the construction details by using a corbelled system with triangles.
1-December 2010. Parc de la Plante, Namur, Belgium. Professors: M.de Rijck and E.Deprez. 1st year of architectural studies.
2-pavilion in the park seen from a peniche
1-flows and orientations’s creation process of the pavilion 2-plan of the double scene’s pavilion in the park
3-structural and acoustic’s creation process of the pavilion 4-significative cut of the project’s spatial articulation
Inhabited urban shape ‘‘Is there somthing here before? What does it look like? These social temporary houses have they adapted to public space or opposite? I don’t understand. Where comes from this shape?’’
A transition shape for a transition use, a scultural urban history and a will to give access from the street to an urban island center. Ther are the axes of this form creation. It allows to avoid any social relations with the public space, just a circulation connect the families to their tempory district, they are self-sufficient. The houses open on the back, where they overhang the little public integration.
1-May 2011. Place St-Josse, Brussels, Belgium. Professors: M.de Rijck and E.Deprez. 1st year of architectural studies.
2-form from the street
1-creation of an urban linkâ€™s envelope 2-adapt public space with qualities
mass imprint public facilities
3-adapt private space with qualities 4-articulate circulation, structure and sunlight
Mixed use emptiness -In a suburban city, where every building was born to itself, where the space is just functional, and the people just sleep, we need more than a game library, we need of an emblematic... SPACE, not building.-
Among the features of the context we retain three majors: places that are not, nomadic users and architectural inconsistencies. The program then analyzes we realize some things: antagonists projects on almost all points. Program and context together form a nest of inconsistencies. Fortunately the plot presents a potential front more than 180° and a position of the vanishing point, so a very variable public report. The first idea is to put the architecture behind, as a backdrop that will regulate and reduce silently program and context. Then the project will be a place more than a building and it’ll promote an involved user, so it will not to be a place that ’’do’’ but a place that ‘‘can do’’.
1-May 2012. Place dr Schweitzer, Berchem Ste-Agathe, Belgium. Professor: D.Erkan. 2nd year of architectural studies.
2-the mass without anything else than the material of the emptiness
1-in-between space: with houses access (r) and library’s floor(l) 2-privates articulations: houses’s common outside (r), library’s outside (l) 3-publics articulations: opening from park (r), houses and library’s entrance (l)
4-implanting in Place dr Schweitzer 5-urban articulations: close and direct
EXPERIENCE OF MOMENT
Little wing footbridge How to transcribe an art work in an architectural space? What kind of function could come from? Why ‘‘little wing’’ of Jimi Hendrix become a footbridge in an urban context?
In his song, Hendrix tries to convey us how he does to raise spiritually: make experiences through the others. The purpose of this project is to promote his idea of interactions by transcribing the psychedelic nature and rhythm of his song in a basic infrastructural architecture. This project develops a rhythm along the way by intersecting views. The looks of passers create relationships of a moment, that of a meeting. The shape makes only one with the structure, it aims to be simple to concentrate on the rhythmic and the intermingling of the looks through the space.
1-October 2010. Fictitious urban place. Professors: M.de Rijck and E.Deprez. 1st year of architectural studies.
2-footbridge connecting buildings
1-explode axonometry with banisters and posts
2-implanting in a fictitious city 3-significative frontage of the projectâ€™s visual rythm
Urban stories ‘‘Why does someone want to come here, in Anderlecht? It’s on the other side of Brussels, and nothing happens. Well, except there, in this place, that one with the river’s stairs, the litlles pubs, the small park and the skateboarding spot.’’
Along the river, down a large park and a residential area, near to a commercial road, this spot could be a central place for west Anderlecht through the crossroad. For now the river is a real break with Brussels but the absence of a large public square in this city and the large population frequenting this area, justify the reclassification of the parcel. This, through autonomous horizontal storylines and a vertical river punctuation. Its urbanism donâ€™t care about the existing form all around but it promotes the views, the access and the links between the population and her land.
1-December 2012. Quai Fernand Demets - Rue Scheutveld, Brussels. Professors: D.Erkan and M.Mawet. 3rd year of architectural studies.
2-urban stories with river in 1/3000
1-area with the direct context 2-access from residential area to the canal by a grid, urban oppening from the commercial area through the grid, vertical axe of the cross (river-roads)
3-vertical intern density and horizontal extern frontage 4-a closed park, an articulated small place and a open square on the river
To live lost in a grid Whatever where you live, when you are in a collective housing one of the principal aspect is your neighbour. Unfortunately, frequently you know more his noises than himself, and that just because youâ€™re connected by functional pieces and not by real social places.
This building from the Urban stories area is in the background of the riverâ€™s square, there is nothing in front of it and it is blind on one frontage. Beyond its appearance, only its location and its massing are important to the master plan. So the intern articulation is independant, thatâ€™s why it opens to the outside by making a vertical square. When anyone go back to home he pass from the square to the common circulation to his home to the square, and this always with a double free view orientations in his room. As in this area, this building is made of architectural stories.
1-December 2012. Quai Fernand Demets, Brussels. Professor: M.Mawet. 3rd year of architectural studies.
2-view from the river â€™s bank
1-plan of the ground floor 2-frontage from Brussels City
3-plan of a floor of three flats 4-significative cut in front of the square
FOREWORD The draft..................................................................5 CITY PUZZLE Imprint pavilion.....................................................11 Inhabited urban shape............................................17 Mixed use emptiness..............................................23 EXPERIENCE OF MOMENT Little wing footbridge............................................31 Urban stories.........................................................37 To live lost in a grid...............................................43 BIOGRAPHY Alexandre Lhussa..................................................51
Alexandre Lhussa Born the 7 december 1991, in St-Gaudens, France, the autor decided at the age of 18 after his ‘‘baccalaureat’’ and a year of perssonal discovery, to study in Brussels at the ULB faculty of architecture LaCambreHorta. Due to many trainings in different offices of architecture and an important questionning about this practice, he tries to develop a real critic mind about his work and that of the others. The principal axe of his young researches, is to find, understand and master the different ways to use this art as the reality of the social and psychological sciences and not for itself.
Realised by Alexandre Lhussa Brussels (Belgium), the 14 June 2013. Legal product of LaCambreHorta edition First production: June 2013 LaCambreHorta, Place Flagey, 19, 1050 Ixelles Printed at Chaussée d’Ixelles, 1050 Bruxelles
CITY PUZZLE EXPERIENCE OF MOMENT