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P O R T F O L I O A r chi te c t u r e & A r t & Design




TA B L E O F C O N T E N T S CV - Architecture - Competition - Design - Photography - Collage

INTRODUCTION C u r r i cu l u m v i tae


ARCHITECTURE Na rci s su s Ca m e r a o b s cu r a Re m i ni s ce nce Vacu u m

8 12 18 34

COMPETITION S te e l I n C om p e ti ti on «Urba n F ly in g Tran spo r t» 2 4 h C om p e ti ti on «M e t r o pol i s » 2 4 h C om p e ti ti on «M e ta m o r ph o sis»

44 50 52

DESIGN O r i ga m i L i gh t Joh n C a ge C h a i r

56 58

PHOTOGRAPHY Ne w Yo rk S h a ngh a i Be r l i n Am ste rd a m Milan

62 64 66 68 74

COLLAGE Ur b a n L a nd s c a p e s W h i te s

78 80 3


Architecture Student - Strasbourg National School of Architecture - 22.04.1994

Born on April 22th, 1994, in the East of France, I quickly went to architecture studies, to the National School of Architecture of Strasbourg, subsequent to a a scientific baccalaureate and passion for Art, Design & Music. Henceforth a 5th year student, my purpose is to find an internship in Copenhagen. Concerned about improving my English and architecture skills, I am an open-minded and sociable person, constantly seeking knowledge and experiences. That’s why, more than finding words to describe myself and differentiate myself from others, the ambition of this portfolio is to give a brief insight on myself through fragments of projects, stories and graphics. Hoping that this project will testify of my enthusiasm for Architecture, I wish you a great reading.

16 rue Sainte Barbe 67000 Strasbourg, France

+33 6 48 65 36 43

E D U C AT I O N Scientific Baccalaureat (physic-chemistry option) : With high honors

EXPERIENCES Workshop «La Fabricasens» Edition 1, 2 & 3 : Administrator Architecture Strasbourg Night Festival : Assistant 1st year project teaching « Inhabitated Architecture» : Assistant « Veilleurs de Salm » Renovation Association : 1 month internship Larché Metzger Architectes : 2 months internship Dominique Coulon & associés : 2 months internship Final Thesis : «White’s influence in the 21th century architectural practice»

COMPETITIONS If Ideas Forward 24h Competition «Metropolis» : Honorable mention Renzo Piano Building Workshop «Periphery» : Finalist Construir’Acier Intern Competition : 1st Prize Construir’Acier National Steel’In Competition : 1st Prize

SKILLS Autocad







Microsoft pack

LA N G UAG ES French: Native

English: B2

Spanish: B2


I ARCHITECTURE 1st year - 5th year



K oe n i gs h o f f e n C o n te mpo rar y A r t Cen te r

48°34’28.9’’N 7°41’56.1’’E - Bordering the Capucin’s covent and the path of the Bruche canal, the Narcissus is conceived not as a fragment of architecture, but more like the extension of a place. The specific position of physical boundary between these two entities helped defining the project through two different ways of perception. From the covent, the Narcissus tries to hide the slightest trace of its own existence in view of the calmness the site inspires. Standing against the stone enclosure of the Capucins’s covent, its minerality allows the nullification of the boundary between the enclosure and the project, leaving only a footprint. Such a footprint materializes itself as a concrete line underlining the horizontality of the forest. By contrast, from the path, the passerby can progressively guess the project. Contemplating its own reflection in the canal of the Bruche, the museum made of glass and concrete lets us catch a glimpse of the contemporary collections that it contains rather than the wall fragment that it stands against, redefining the borders between interiority and exteriority. It is for this specific reason that the project has also been conceived as an elaborate landscape scenography. Thus the spatial composition has been defined through this scenography, which allows us to appreciate the landscape. The entry sequence crossing the water is marked by the presence of an enclosure fragment. To the East, the cafeteria marks the entry sequence with a view on the neighboring ponds, while on the West begins the museal path. Built around a linear circulation bordering the river, it serves 3 exhibition rooms and an auditorium, alternating views on the enclosure and the infinite landscape.

Year : 3rd year 1st Semester

Teacher : Anne-Sophie Kehr

Team Members : /



R oo m


Room 1&2

A u di tor ium


Caf ete r ia


CA M ERA OB S C U RA Na n te s I n s t i t u te of Ph o to g raph y

47°12’14.6’’N 1°34’11.5’’W - As part of the urban renewal of the Nantes island, the new institute of photography finds its proper place as the system’s ending of the island’s West wharfs. Thus, the project has been conceived around two different sides: place & program. Bordered by old slipways, witnesses of the island’s industrial past, the project finds its inspiration in this aesthetic by setting up a ramp with similar dimensions sequencing the entry. Also situated on the urban system bow, the institute is naturally open on water, taking advantage of this privileged place. On the other hand, the program reveals itself through the Camera Obscura concept. Conceived like a Pinhole Camera, the institute takes advantage from every code of photography by spatializing them. Indeed, the building offers several framings (low-angle shot, high-angle shot, vertical, horizontal),and different type of lights (direct, indirect, reflected). Therefore, Camera Obscura, more than a building for learning, becomes a place of experimentation. Year : 3rd year 2nd Semester

Teacher : Dominique Coulon

Team Members : /


c los e d

o pen ed

li g ht

d ark


g r o u nd floor



fl oo r


n d

fl oo r


r d

f loo r






fl oo r



fl oo r



Strasbourg-Kehl Harbour Urban Renewal Planning

48°34’55.2’’N 7°48’21.6’’E - As part of the Renzo Piano Building Workshop «La méthode Piano», the Reminiscence project arose from the reconsideration of the Strasbourg’s ring, in particular the harbour district. Indeed, if the autonomous harbour of Strasbourg encounters storage difficulties, the opposite is true for the facing harbor of Kehl, with 70% of unused storage. Therefore, the project was founded on a hypothetical joint venture between those two harbours, freeing itself from geopolitical constraints. Reminiscence would re-develop itself through 5 steps, making StrasbourgKehl the biggest harbour on the Rhine. First the recycling center would be developed, composed of universities, companies and factories, creating a dynamic restricting harbour’s wastes. Then, the harbour’s activity would increase, along with its container storage space, optimized by a system composed of gantry cranes and railways. After the stabilization of the activity, the East docks would be converted into a hybrid factory park, permitting to restitute an urban vegetal continuity, while creating a dialogue with the Rhine. Finally, the economic center would be developed at Kehl’s entrance, creating an edge on the Rhine, livening up the quays, and leading the new Franco-German harbour to an international scale.

Year : 4th year 1st Semester

Teacher : Georges Heintz

Team Members : M.Lhomme I.Montanaro


Wate r f ra me

Vegeta bl e f ra me


f rame

F luvial t raff ic

R oa d t raff ic

R ailw ay t raff ic

Planification by Polarity : Kelhattan • Factory Park • Container Island • Recycling Center



R ec yc lin g C e nte r


Wa s t e



C on t ain er I sl a nd

The Biggest Harbour On The Rhine 23

Rhine Canal

Transshipment Wharf

Design & Marketting University

Quay for Students

Recycling Storage


Transshipment Zone

Gantry Crane

Containers Storage


Containers S



Containers Storage

Gantry Crane

Transshipment Zone


Fac t o r y Pa rk

A Hybrid Park On The Rhine


Kelh a tta n





Handicraft Place

Small park

Calm Manufacturing

Medium Industries





Artificial Quays

Business District : New landmark on the Rhine

B28 Highway

Heavy Industrial district


VA C U U M Lausanne Olympic Village

46°30’34.9’’N 6°39’08.1’’E - Contextualized by 2022 Youth Winter Olympic Games, the new Lausanne Olympic village takes place on the heart of Ouchy district, formerly called « Parking de la Navigation ». Strictly different from the Lausanne « plot » typology, the project takes the shape of a tower, which is justified by its margin situation. Indeed, speaking of either the littoral treatment or the vegetal one, the project appears like a rupture between mineral quays and beaches, or between the irregular topology of the « Jardin Botanique » and the regularity of the littoral. Otherwise, we can notice that Lausanne is defined by 3 shelves respectively known by an emergence, apart from the lowest one: Ouchy. Thus, the program became a reinterpretation of Lausanne’s architectural codes: plot, emptiness, and ground level difference. Indeed, the project takes the shape of a square, similarly to the plot, conferring a non-orientation, isolating the object and landmarking it. The emptiness, strongly present in Lausanne’s base, became the core of the project: to remove any hierarchy in the project, each floor is composed of flats and a public vacuum with different functions, making the circulation smoother. Finally, the link to the ground is desalted in two levels, defined by the sliding of the beaches with the quays. Consequently, between links and ruptures, Vacuum appears like a reinterpretation of Lausanne culture, serving an international event. Year : 4th year 2nd Semester

Teacher : Manuel Bieler

Team Members : /


South Section

North Elevation



C oa s t

f l oo r

t ypol o g y

br e a k

Bois de S auvabelin 640m

Ce n t r e v i l l e



354 m

3 r d floo r



f rame

1 5 th f l oo r

16 th floo r

U r ba n c e n t ra l i t y

Fr ee cir culatio n


1 1 th • 1 9 th Sectio n

1 1 th • 1 9 th E le vatio n 41

II COMPETITIONS Metropolis - Metamorphosis - SteelIn


F UNAMBULIST Strasbourg Urban CableCar - 1st Prize

48°32’41.2’’N 7°44’13.1’’E - Part of the Strasbourg periphery, between Illkirch and Ostwald, the cable car Funambule tries to reconnect these two cities through the air crossing of Ostwald forest, using a « discontinuous unidirectional movement pulsed mono-cable’s » system, only feasible option in view of insuperable terrestrial constraints (forests, ponds and roads). Thus, this multimodal station takes its shape from the trace of the old bus-station of Illkirch, where many influxes were converging (tramways, bus, cars, bikes). Conceived as day and night functional system, The Funambulist is composed of 3 floors organized around an open-plan, operated by a reworking on Jean Prouvé’s three-mobile-joint-crutch. This way, on each floor different functional and autonomous boxes are organized, providing the project needs (restaurant, bookshop, storage, etc.). Furthermore, a landscape scenography helped to direct the project. Indeed, the link to landscape appears essential in view of the visual impact of this tall project. That’s why the 3 stations (departure, arrival, intermediate), took the look of the forest, by facade-perforation system. The pylons will take the look of the crutch while fading in the landscape. Consequently, by transcending the properties of a material, the Funambule establishes a link between architecture, context and function: steel. Competition : 2016 SteeIn Competition

Team Members : L.Busmey C.Huot-Marchand A.Amblard


2 nd F loo r Pl a n


B i k e S to ra ge

G r o u nd

Te r m i n a l s

To i l e t s

Car terminal

F loo r Waitin g r oo m

L i b r a r y



Wai ting r oom

Ticket off ice


Fo u n d a t i o n

D e s ta bi l i z e d st r uct ur e

Iso static

st r uct ur e

D e s ta bi l i z e d


Fr ee

g r o un d

floo r



Regeneration of a non-place - Honourable mention

48°35’33.8’’N 7°44’42.1’’E - « If a place can be defined as identity, relational and historical, a space which

couldn’t be defined neither as identity nor relational or historical, will define a non-place ».

Marc Augé

Even if Marc Augé theorized the « non-place » notion as a place without history, identity or relational aspect, the ambiguity of this notion is still there. In the view of the uniqueness of the individual, or the place, « space » is always linked to Humans and their history. Indeed, the place can’t be defined and named at a time T, because it is understood through years, generations, and times. The non-place is then no more that the fragment of a place whose history has disappeared, the page book necessary to understand the whole story. That’s ask the question : Why not reveal the past instead of changing the present ? Why not reveal the whole story instead of re-writing it ? From the top of its forty eight hight meters, the « Maison du Bâtiment » is one of t@he most higher and dilapidated building of Strasbourg. So that it is at the heart of demolition project. However this « non-place », crossing the fast infrastructure and the old town of the city, reveals itself to be a importante urban issue. By revealing the history of this place could it have a renewal ? Competition : 24h IfIdeas Competition « Metropolis »

Team Members : /



future disappearance

current appearance


homeless’s squat


temporary criminal court


conference room restaurant offices


exhibition room of building materials european center of building documentation



football stadium




10x10x10m cube with Day/Night functions

00°00’00.0’’S 0°00’00.0’’E - «All entities move and nothing remains still. »

Heraclitus of Ephesus

The debate on the metamorphosis of city, uses, and behaviors couldn’t be easily summed up in two faces like day and night. In fact, even if the world was constantly balanced, it was also in perpetual change each second of our life. That’s why it seemed meaningless to response to the mono-functional buildings by giving them bi-functional statut but rather make them incarnate the symbol of change itself. Thus, in a balanced cube containing every changes and possibles, was born the øspace. A no-space containing every spaces, a use permitting every uses, a dimension from every dimension, made with the original and inexhaustible material of this univers : light. In other word, øspace became the white thin membrane between the futur chaos of a lost generation and the birth of possibles world of numeric era. Competition : 24h IfIdeas Competition « Metamorphosis »

Team Members : /



Origami light - John Cage Chair


O r igami light (2014) E. Sessini

O r ig a m i l ig h t ( 2 0 1 4 ) E. Sessini


J ohn C age c hair (2015) A. Amblard, L. Busmey, E. Sessini & J. Jubeau, C. Bonvin, M. Mathieu


IV PHOTOGRAPHY Berlin - Saint-Malo - New York



5th Avenue , New York, United States, 2013

Flight , Pacific Ocean, Nowhere, 2016


Shanghai Tower , Shanghai, China, 2016

Jewish Museum inside access, Berlin, Germany, 2015

VC Morris gallery, San Francisco, United States, 2016


Downtown , Amsterdam, Netherlands, 2017


Scholar Group , Hadol, France, 2015

Villa Noailles , Hyeres, France, 2016

Cubic houses , Rotterdam, Netherlands, 2017


Sforza Castle, Milan, Italy, 2016

Jewish Museum, Berlin, Germany, 2016


Jewish Museum, Berlin, Germany, 2016

V COLLAGE Urban Landscape


E. Sessini, Urban Landscape , 2015, Photoshop Collage, 10x15cm



What is White’s influence in the 21th century architectural practice ?

Final Thesis -

« concept : m.n. (from latin « conceptus ») : general and abstract representation of the reality of an object, a situation or a phenomenon». Contextualized by an economical, political or social situation, « Architecture is the will of the epoch translated into space  ». Nevertheless the architect synthesizes this objective observation into a subjective answer through a tool : the concept. Neither evoked at the beginning nor at the end of a architecture project, it shows a position and a legitimacy which is quite questioned on the conception process. Thus, many architectural projects of a same time, which similar appearances could affirm different ideas, while different projects can show a similar theoretical approach. If the comprehension of an architecture is not only about its shape, it seems important to consider its story. This is why we can establish a parallel with conceptual art, where sculptures take on its meaning by their story more than their shape. Otherwise, even if some architects are considering concept as inherent in conception processus, others see it as the support of a theoretical speech, permitting the public to accept it. Then we can question the different ways that the concept take part of the foundation, process and justifying of the architectural project. Indeed, while being inexhaustible, White take part of these overexploited concepts whose meaning always differ through years. Often considered as a non-color, its concept status stays unquestionable. White is universal, because it comes from nowhere, it belongs to nobody. White is unreproducible, because our perception deform and falsify its reality. White is ineffable, because no language allows to define it in all its complexity. White is shapeless, because color does not have any dimension. Thus, White is a concept and can distinguish itself on three levels : the thought white, the built white, the felt white.

Subject : What is White’s influence in the 21th century architectural practice ?

Team Members : /

E. Sessini, White n°20 , 2016, Photoshop Collage 79

E. Sessini, White n°1 , 2016, Photoshop Collage

E. Sessini, White n°21 , 2016, Photoshop Collage 81

Portfolio Architecture Enzo Sessini  
Portfolio Architecture Enzo Sessini