BAHI Portfolio by Farah Mesbahi

BORN BRUSSELS, BE

ORIGIN TANGER, MA

GROW UP (half time) GRENOBLE, FR

LIVED TOKYO, JP

, ⽇本

B : BUILD

A : ARCHITECTURE

H : HEARTH

I : ICONIC

ビル 建築 家庭

象徴的

BUILDING ICONIC ARCHITECTURAL HEARTS

象徴的な建築のハートを作る

FARAH MESBAHI ファラー・メス

Architect

Architecture, in my eyes, extends far beyond just designing structures. It melds social, environmental, and aesthetic elements, creating spaces that shape our well-being and social interactions, while representing our bond with nature. As architects, our role is pivotal: we have the unique chance to mold our societies. Beyond building shelters, we craft the settings where life unfolds and interactions blossom. Every creation presents an opportunity to bring positive change, innovate, and guide harmonious urbanization.

With cities expanding rapidly, the significance of architecture grows. It possesses the power to transform urban zones into genuine communities, blending places for exchange and relaxation. It also addresses climate challenges by promoting environmentally-conscious buildings and spaces. Moreover, a thoughtful design can promote sustainable movements and enhance our adaptability to ecological challenges.

My travels and a year spent in Tokyo, a city intertwining tradition and modernity, have enriched my architectural perspective. My interactions in Montreal, Toronto, and New York have further shaped this vision, reminding me that architecture isn't just about structures, but lived stories. It captures our collective memory and our dreams for the future. As architects, we're not just shaping spaces, but also experiences, connections, and responses to societal shifts.

In the following pages, you'll discover the projects that have shaped my evolution as a builder of iconic architectural hearts. May you find inspiration and insight as you explore this portfolio. Enjoy your journey through my architectural narrative.

CONTACT

farah.mesbahi@outlook.com

+32.488.86.33.90

Impeleer 195, 1600 Sint-pieters-leeuw, Vlaams-Brabant, BELGIUM

EDUCATION

2020-2023

2022-2023

2017-2020

Main location

BRUSSELS TOKYO GRENOBLE TANGER

SKILLS

AUTOCAD REVIT

RHINOCEROS ARCHICAD

Adobe Creative Suite

Graduated in 2023: Master in architecture and design

Master Architecture and design

Free University of Brussels , Faculty of Architecture La Cambre Flagey Campus, La Cambre Horta ULB

Place Eugène Flagey 19, 1050 Ixelles, Brussels capital, Belgium

Exchange International Architecture and design

Waseda University Department of Architecture Nishi-Waseda Campus, Waseda University 3-4-1 Ookubo, Shinjuku-ku, Tokyo, 169-8555, Japan

Graduated in 2021: Bachelor in architecture and design

Bachelor Architecture and design

Catholic University of Louvain-la-Neuve , Faculty of Architecture LOCI Campus Saint-Gilles, LOCI

Rue Wafelaerts, 47-51, 1060 Saint-Gilles, Brussels capital, Belgium

Graduated in 2017: Draftsman in constructions and public works and the secondary diploma CESS

2013-2017

Drafting in construction and public works

LA RETRAITE high school Catholic secondary education

Rue des Confédérés, 70 - 1000 Brussels Tel.: 02/736.91.27

2010-2013 Science and Mathematics

Secondary section of Saint-Pierre College Avenue Coghen, 213 -1180 Uccle (Brussels) Tel:02.344.50.58

FABLAB FORMATION for model 3D PRINT

CUT LAZER (all materials)

LANGUAGE FRENCH ENGLISH DUTCH

DRIVER LICENCE

HOBBY Photo Travel Fashion Fomule 1 Design

EXPERIENCES

2023-2024

Sou Fujimoto Architects : Junior Architect

During my five-month tenure as a junior architect at Sou Fujimoto, I engaged in two design competitions. Firstly, I contributed to the façade design for a museum project in Shenzhen, delving into the intricate balance of form and function. Secondly, I participated in a project in Dubai, the details of which remain confidential. My work on these projects, a testament to my dedication and creativity, is available for viewing exclusively during interviews, as per project confidentiality agreements.

2022-2023

Shigeru Ban Architects / 坂茂建築設計 : Internship

I had the chance to enrich my resume by doing a 5 months internship in the office of one of the greatest architect in the world Shigeru Ban. I used Autocad, rhinoceros, illustrator., are first they briefed me on the projects.Will attend the group reuinion and meeting with Shigeru ban. Design of study models and use print 3D.

2022-2023

WINNER : COMPETITION ADAM MUSEUM

University competition in collaboration with the Brussels Design Museum and FABLAB. The aim is to adapt the museum to the museum, create games and a playful visit using products made in the fablab with 100% recycled materials. We came in first place and our project is currently in production.

2022-2023

WORKSHOP MANo in Portugal

Partly working at The theme of the workshop is linked to a problem that is found in Porto, Portugal. The idea is to rethink the site, in order to revive schooling in the district. The master I have the mission of broadening our field of vision at the level of the district and the city. FABLAB SEE U of the free university of Brussels, to help the users of the machines, as well as to help in case of problems with the different machines or files

2022-2022

Assistant professor first year architecture workshop

Project analysis with students to improve the concept and give an idea of the working process. As well as assisting in the design of their model. Participation in the final evolution of these students

2020-2021

Assistant IT professor first year with Autocad and Photoshop

Participation in the workshop to help and answer some students' questions. Correction of the work requested at the end of the semester.

STATIONARY CONCRETE IN ARCTITUDE THE BREACH

STATIONARY

FAB LABois Articulated

SCHOOL WALK - PORTO

DRAW DETAIL

RENDER

INTERSHIP

THESIS PAPER ARCHITECTURE

Tunnels Interwoven with Ecology

ADAM MUSEUM DESIGN

P.

This initiative was inspired by a deep dive into the lifestyle of long-haul truck drivers, individuals who spend extensive periods on the road. Their consistent anchor point? The factories they serve. My research unveiled that the European Union had raised concerns about a French factory's non-compliance with driver rest regulations. Consequently, they mandated the creation of adequate facilities within the factory premises for these roaming professionals. Seizing this opportunity, Renault envisioned a dedicated truck parking zone.

Utilizing various vehicle turning angles and the c, a triad of circles materialized. Two of these circles ingeniously introduce natural illumination into the robust concrete edifice. Simultaneously, the central circle reserves a space, beckoning an architect sanctioned by the European Union to craft a holistic program tailored for these drivers. This designated space manifests as a tower, intersecting the parking expanse.

Usine Renault de Flins Boulevard Pierre Lefaucheux, 78415 Aubergenville, France.

Ixelles

Usine

Centrale park

SIXIÈME ÉTAGE

QUATRIÈME

QUATRIÈME ÉTAGE

TROISIÈME ÉTAGE

DEUXIÈME ÉTAGE

PREMIER ÉTAGE

SIXIÈME

CONCRETE IN ARCTITUDE

The idea behind this project was to answer this question: how can we ensure that the person living on the ground floor finds their home as pleasant as the person living on the top floor?

The solution, after several tests, was to distribute public spaces in two sections of the building, thus dividing the three types of housing: studios, two-bedroom apartments, and collective housing.

The core had to be split into two sections: The public entrance on the street side, which would lead to the gym and the library. The private section would distribute the communal spaces and the residences, including the rooftop terrace belonging to the tenant.

Both circulation spaces contained a staircase and an elevator.

Collective spaces exclusively At the bottom of the tower and on the elevation of all dwellings

We will create a core composed of two parallel walls cut in two parts. Each of the two parts will have an elevator and a staircase.

The first part will be just for the public and the inhabitants of the studios living in the first part of housing.

The second part will be private and will be exclusively for the inhabitants of the accommodation, they will also have access to the collective spaces but also in addition to a unique garden terrace roof.

SCHEMAS: public and private, a happy medium

Collective spaces distributed throughout the tower

Collective spaces revolving around the tower

Collective spaces that sequence the tower in 3 parts for the three typologies that will be there

The creation of this concrete skeleton with arches will make it possible to differentiate to the eye of the public living outside the difference between the public and the private. In addition, the arches will allow a more fluid weight transmission which will guarantee the durability of the structure of the tower.

TYPOLOGIES LOGEMENTS

Appartement collectifs

Simplexe à deux chambres

ESPACES PUBLICS

Salle de sport sur deux étages

Bibliothèques

Studio

Formations des moules Préparation armatures pour le béton

Coulage du béton sur place Les arcs portent et les poids sont repartis le long de leurs courbures.

Photos de structure dans projet similaires : Salle de sport et espaces collectifs communales à Molenbeek-Saint-Jean de BOGDAN & VAN BROECK

COLLECTIVE VENELLE

An alley that becomes an inhabited walk.

An agricultural field for all.

Welcome to the new « chants des cailles ».

Settling in an agricultural field (le chants des cailles ) and reviving these alleys which are linked to those of the neighboring garden cities, here is the idea of this project.

Along this new alley, a promenade is created with four housing typologies that diversify them from the neighborhood that was mainly composed of single-family housing.

Collective spaces will be added all along the new alley so that it can be used by its inhabitants, but also by the inhabitants of neighboring garden cities.

zoom in on public spaces

Axonometry

Playground

Terrace overlooking agricultural fields

Enter main alley, bicycle parking and work room

Library and wooded park

Multipurpose space: Library, bedroom for grandparents or teenagers, relaxation room, studio (photo / music)

Bedroo m ground

TRIPLEX: PLAN AND SECTION

School walk - Porto

The theme of the workshop is linked to a problem that is found in Porto, Portugal. We notice that there are almost no more schools in the city. The remaining one really doesn't work. Our location is therefore in one of the last primary schools in Porto. The idea is to rethink the site, in order to revive schooling in the district. The master I have the mission of broadening our field of vision at the level of the district and the city.

The goal of my project was therefore to link the primary school with the university by creating a secondary school by connecting them through public spaces. I implant it on an old ruins by reusing the remaining pieces of wall.

I try to recreate the same morphology of the buildings destroyed by the viaduct. This action allows me to retrace a historical alley existing since the Middle Ages. I use the parking lot and the terrace used as parking under the viaduct to make it a library and a workspace. In my reconstruction of the destroyed buildings, a building is the only one that is directly linked to the street and the secondary school, so I created an exhibition area with artistic workshops for the city's artists and students. Restaurant is located in the cellar which has a view of Gaia and the sports hall in the ruin opposite the school. All to link my program to the people of the neighborhood.

This allows me to have a complete school system close to each other who are enriched.

ATELIER LIEU D’EXPOSITION

BIBLIOTHEQUE ESPACE DE TRAVAIL

C.J.

OMNISPORT

ECOLE SECONDAIRE

UNIVERSITE

CAFE RESTAURANT

ECOLE PRIMAIRE

CONNECTION OF THE PROGRAM: A SHORT HISTORY OF OUR SCHOOL ROAD

City streets are bustling with cars, adorned with the lively footprints of children chasing a ball across the weathered cobblestone floor. Meanwhile, diligent young readers seek solace on staircases, engrossed in their books.

A prominent red marker directs the gaze towards a meandering path of painted paving stones.

Below, a school for little ones resonates with the laughter of toddlers playing on a softer, reddish ground. One side of the scene is enclosed by a wall, unmistakably part of an old building characterized by its raw materiality.

On the opposite side, the winding path is bordered by a low wall adorned with diverse graffiti—a collaborative effort involving local artists and schoolchildren.

Descending further, I come across redeveloped old ruins, transforming a space once dedicated to the historical remnants of the past into a beacon of the future. The same red alley leads to a direct entrance, challenging conventional barriers and inviting the red line into the building.

As I traverse the pavement, the building's interior reveals a conversation of colors and materials. Initially unfamiliar walls, remnants of historical masonry, now harmonize with the new architecture. This unique experience within the building provides a glimpse of an expansive space, highlighted by the pervasive red color, offering a breathtaking view of Porto—a vibrant city pulsating with life and architectural marvels. The journey through the building becomes a tour of the city and its art, with graffiti narrating the story of its evolution.

The space, commencing with words, undergoes a transformation to embrace the ground through color and materiality, ultimately weaving a narrative that recounts the story of its rich history and vibrant present.

THE BREACH

The aim of the project is to create an exhibition and artistic space inspired by the work of an artist, this utopian gallery must create a surprise and an experience throughout its transition.

For my part, I was inspired by the painter Lucio Fontana who is known for these famous paintings in which he creates openings using a cutter. From the statement that wanted your bass to be a cube that is 7m x 7m, I started to break it down into several blocks held by parallel walls that would open through gaps, like the works of the famous artist.

Visitors to the exhibition site arrive and therefore see this large white cube and it is only when approaching that they notice this unique opening and will cross the cube through gaps similar to temporal gaps.

DIAGRAMS: decomposition of the cube à la

Lucio Fontana

ROOF

GROUND FLOOR

NORTH ELEVATION

SOUTH ELEVATION

SECTION A-A'

AXONOMETRIE

FAB LABois Articulated

The aim of the project is to create a FabLab that will move according to international competitions in architecture, carpentry, urban planning, and others. This will provide a space for the various "foreign" teams participating in the competition to refresh, work, or meet for the different contests that require a FabLab for all types of printing.

The brief required us, architecture students, to familiarize ourselves with woodworking where the structure could be easily movable and lightweight. I chose to experiment with a free-form design of small rectangular modules that are jointed. The varying heights create a free shape that results in a curve.

Elévation

Décomposition de la forme

Compression pour courber

Variations de pleins et vides

Possibilité d’extension, de contraction et déplacement de l’objet

Plan

Diagrams: evolution of a shape to make it mobile and variable

Plan du RDC

Plan du R+1

Coupe AA’

Coupe BB’

NENUPHAR

Inspired by the water lilies that captivated the dog during fishing expeditions, this single-family home in Tervuren, Belgium, stands out with its unique morphology. Shaped to evoke the client's passion, the building serves as a living tribute to moments where nature and contemplation intersect.

This ambitious project revolves around creating distinctive architectonic facades, where every detail is carefully considered to reflect the desired aesthetic. From drawing up plans to structural couplings, sewer systems to electricity, each architectural element is meticulously designed to achieve functional harmony.

The design of this residence goes beyond a simple structure, aiming to capture the essence of the client's fascination with water lilies, integrating natural inspiration into every corner. The facades mirror this immersion in nature, creating a unique atmosphere where the exterior and interior harmoniously engage.

This meticulous work on plan details and fundamental systems, coupled with a constant pursuit of architectural originality, transforms this house into more than just a dwelling. It becomes a livable work of art, where each aspect is a tangible expression of the passion and inspiration that gave rise to this exceptional residential project in Tervuren.

Balcon

COUPE AA'

COUPE

BELGIQUE - BRUXELLES

Demande de permis d'urbanisme pour une maison d'habitation

Bruxelles

Lycée La Retraite - Farah Mesbahi Rue des Confédérés,70 à 1000 Bruxelles

Farah Mesabi - Architecture & Designer

Plan

LEGENDE

Nouvelle maçonnerie portante

Revetement métallique

Situation projetées

Garde de corps en verre Béton

Isolation

LEGENDE

A - Revetement Métallique

B - Fenêtre oscillo battante - teinte noir métallisé

C - Porte coulissante en acier - noir métallisé

D - Fenetre basculante

E - Acrotère

D'ELECTRICITE PLAN D'EGOUTAGE

Render

In the context of a design concept course, our focus was on the creation of renderings, recognized as a highly effective means to gain a comprehensive understanding of the visual representation of architectural designs. These renderings frequently function as crucial selling points, showcasing the aesthetic appeal of a proposed architectural structure. Moreover, they play a pivotal role in aiding architects in visualizing and evaluating the diverse array of materials incorporated into the design.

As part of this course, we underwent training in AI rendering techniques, a cutting-edge technology designed to inspire architects by offering innovative perspectives on various textures. Our specific assignment entailed the exploration and proposal of more than 20 textures, each carefully chosen to deviate from those commonly encountered in our daily surroundings. This endeavor not only expanded our creative horizons but also encouraged us to think beyond the conventional, introducing novel and avant-garde textural elements.

Allow me to share some of the unique experiences I encountered throughout this process, as it provided a platform for experimentation and pushed the boundaries of traditional design thinking.

STRAY AND GLASS

FABRICK

VEIL

COTTON CANDY

BLOWN GLASS

VEGETABLE

GLASS LIKE A FISH SKIN

TYRE

LEATHER BALL

The internship at Shigeru Ban Architects

This internship offered a unique and enriching experience, delving into the innovative and humanitarian aspects of architecture. Shigeru Ban, a renowned Japanese architect, is globally recognized for his commitment to sustainable and environmentally friendly designs, especially for disaster relief projects. The internship provided insights into Ban's dedication to humanitarian architecture, focusing on designing temporary structures and emergency shelters.

NOTE

The confidentiality of the projects is paramount due to competitive dynamics among architectural firms. Consequently, I am unable to disclose the entirety of the project details. However, I can provide insights into the tasks I undertook, the challenges faced, and the overall learning experience during my involvement. This approach allows me to share valuable aspects of my contribution without compromising the confidential aspects of the architectural designs.

Summary

The unique aspects of Shigeru Ban's expertise in recycled and sustainable materials, particularly cardboard, became a significant focal point of the internship. Working alongside Ban allowed for learning sustainable construction techniques and developing an environmental sensitivity within architectural practice.

The experience served as a catalyst for subsequent research on paper architecture, inspired by Shigeru Ban's achievements in turning ephemeral forms into enduring structures. The internship at his firm became a pivotal point for collaboration with pioneers in this architectural advancement.

Shigeru Ban's role in exploring and developing paper architecture, utilizing unconventional materials like cardboard, showcased innovative possibilities for sustainable and affordable design. Designing emergency structures using paper in disaster-stricken areas demonstrated the resilience and functionality of these structures.

The Shigeru Ban Architects office operates on a unique model with offices in Tokyo, Paris, and New York. Each office handles projects on its respective continent, facilitating architects' mobility. The Tokyo office, where the intern worked, was divided into three buildings, each serving specific functions, providing a comprehensive workspace.

The arrival at the office during the COVID-19 pandemic added a unique dimension, with the intern being among the fi rst foreigners to enter Japan under these circumstances. The internship involved active participation in ongoing projects, treating interns as integral team members, and regular meetings with Shigeru Ban for feedback.

The office dynamic involved Shigeru Ban conceiving projects and his team handling graphic realization. Project teams were structured with senior architects leading, juniors acting as equals, and interns shadowing them. The internship commenced with a tour of the buildings, introducing interns to the team and project roles.

In essence, the internship at Shigeru Ban Architects provided an unparalleled opportunity to contribute to groundbreaking architectural endeavors influenced by innovative thinking, sustainable practices, and a commitment to humanitarian architecture.

The project "House in the Forest" was an intriguing and enriching experience, collaborating with Mr. Maryama and Ms. Marina. The client's request for two luxurious houses with a shared space posed a unique challenge due to urban planning rules requiring separate addresses for each building. Shigeru Ban's creative solution involved connecting the buildings with a glass corridor, presenting a visually harmonious solution while complying with regulations. The project, situated in the Japanese countryside near Tokyo, immersed in a forest, added a natural and luxurious dimension to the design.

The intern was responsible for modifying existing study models, checking the maquettes, and creating 3D models for various spaces. The complexity arose in designing the game room, where structural details were not explicit, requiring the intern to propose and select the most coherent option. Document layout and graphics were simplified for client understanding, involving coordination with Rhino, AutoCAD, and InDesign.

Tasks also included collaboration with Mr. Maryama and Ms. Marina, attending meetings with Shigeru Ban and the client. The experience enhanced technical skills, understanding of large-scale architectural processes, and collaboration within a team. The intern's involvement in client meetings provided valuable insights, concluding with client satisfaction and a sense of accomplishment.

Although leaving the team was bittersweet, the project contributed to acquiring new skills, expanding understanding in architectural processes, and learning from experienced colleagues. The positive outcomes strengthened confidence and enthusiasm for future architectural endeavors.

For my second project, I joined the studio team responsible for all projects in Asia, working alongside Zhang-san, a Chinese architect, and Shan-san, who served as a supervisor. Communicating exclusively in English, this experience was fulfilling for me. The project, located in China, was Shigeru Ban's largest and most extensive complex, comprising four buildings connected by a single roof. The first building housed offices, the second was a cultural center with theaters, exhibitions, and shops, while the last was dedicated to housing.

Over the six weeks on this project, I participated in three crucial meetings: the first with Shigeru Ban to validate the program, the second regarding housing and client-requested changes, and the third discussing alterations to brief Shigeru Ban and revisiting housing plans. Despite not contributing to the creative process, I felt valuable by providing my insights and being heard.

In terms of tasks, unlike the first project where I transitioned between various responsibilities, this one involved sustained work on multiple model-related aspects such as 3D roof modeling, 3D printing, and participation in visual conferences with clients and collaborating architectural offices in China for urban planning approval. These activities often consumed entire days.

Due to the team's busy schedule, I took on responsibilities like shopping for model supplies and producing numerous study models. Since the project was far from completion, visualizing the entire concept was crucial. My 3D printing skills, acquired during my architectural studies, demonstrated my capabilities, leading other teams to seek my assistance for their own projects. This role felt less vocal but more executive, and despite the stress, the team atmosphere was supportive.

This project served as a challenging experience, allowing me to enhance my skills in model-making, 3D modeling, and time management. Working within the studio team exposed me to colleagues from various nationalities, deepening my understanding of international collaboration in architecture.

During the final two weeks of my internship, I had the privilege of participating in a workshop related to my thesis. This opportunity was granted as a recognition of my dedication and efforts on the China project, showcasing appreciation for my contributions and skills.

The workshop focused on assembling Shigeru Ban's paper tubes and was designed for primary school children living in areas at risk of humanitarian disasters. This experience was both enriching and intricate.

Shigeru Ban, a renowned architect, has developed construction techniques using paper tubes to meet emergency needs in areas a ff ected by natural disasters or humanitarian crises. His temporary structures are durable, easy to assemble, and provide shelter for those in need.

The primary goal of the workshop was to teach children the fundamental principles of assembling Shigeru Ban's paper tubes, empowering them with practical skills to participate in constructing emergency shelters in their own communities if needed.

The workshop spanned an extended period to allow children to fully immerse themselves in the learning process. Initially, we explained the basic concepts of Shigeru Ban's architecture and the advantages of paper tubes as a construction material. We also addressed challenges faced in areas at risk of humanitarian disasters, such as the lack of safe and durable housing.

Subsequently, we conducted practical demonstrations to show children how to assemble paper tubes to build simple structures, such as huts and basic shelters. Every child had the opportunity to actively participate and handle the paper tubes, learning cutting, folding, and assembly techniques required for these structures.

Interactive activities were incorporated to stimulate their creativity and promote teamwork. Children were encouraged to design their own structures using paper tubes, considering the specific constraints of disaster-prone areas. They had to contemplate how to adapt Shigeru Ban's designs to meet the needs of their own community.

The workshop also addressed important topics such as environmental sustainability and social responsibility. We discussed the benefits of using recyclable materials and the importance of reducing our carbon footprint. Children were made aware of the significance of resilient architecture in disaster prevention and in building stronger communities

This intense moment during the workshop left a profound impact on me, fostering a significant connection with Japanese culture, the participating children, and my colleagues. Allow me to share in detail how this experience deeply touched me.

First and foremost, the interaction with the children during the activity was emotionally powerful. Working side by side with them, I witnessed their enthusiasm and curiosity growing as they discovered the techniques of assembling Shigeru Ban's paper tubes. Their contagious energy and eagerness to learn amazed me. I felt a genuine connection with them, transcending linguistic and cultural barriers.

This moment allowed me to better understand the Japanese mentality and philosophy, emphasizing collaboration, mutual respect, and the importance of passing knowledge to future generations. Working with these children in such a meaningful context allowed me to feel this Japanese culture in a profound and authentic way. I observed their discipline, attention to detail, and commitment to doing their best in each task.

In connecting with these children, I also experienced deep personal fulfillment. Being able to share my knowledge and skills with them, while inspiring them to explore their creativity, was incredibly rewarding. I realized how education and the sharing of experiences can be powerful ways to strengthen human bonds and contribute to the well-being of others, especially in challenging contexts.

In addition to my relationship with the children, this experience also strengthened my bonds with my colleagues. Working together to organize and conduct the workshop, we shared intense moments, faced challenges, and celebrated successes. We had to collaborate closely, exchange ideas, and creatively solve problems. This experience created a sense of camaraderie and trust among us, reinforcing our team spirit.

THESIS : PAPER ARCHITECTURE : Is paper architecture a perennial ephemerality?

Paper architecture, traditionally perceived as ephemeral, is becoming an increasingly fascinating subject within the construction industry.

This research delves into the evolution of paper, from its origins to its contemporary role in architecture. It explores its transition from a tool of representation to a full-fledged construction material, drawing on various architectural experiments, with a particular focus on the work of Shigeru Ban, renowned for his innovative use of paper tubes. Combining in-depth analyses from primary and secondary sources, the thesis addresses the intricacies of paper construction, its methodologies, and its sustainability.

At the core of this research lies a central question: is paper architecture truly an "enduring ephemera," or can it defy expectations in terms of longevity and robustness? Detailed case studies will further examine this question.

Introduction:

At the core of my final thesis, a fundamental question arose: "Can paper architecture be considered as enduring ephemera?" The primary objective was to explore the contemporary feasibility of constructing with paper to create sustainable projects. It aimed to transcend the conventional perception of paper as a fragile and ephemeral material and evaluate its true durability.

Chapter 1 - Paper Architect:

The first chapter, titled "Paper Architect," delved into the role of paper in architecture as a means of expression. It was demonstrated that paper, as a communication medium through graphic representations and models, has the capacity to preserve ideas over time. This observation suggests that paper can contribute to perpetuating architectural concepts, especially among architects who have used drawing as a revolutionary tool to shape unique paper architecture.

Chapter 2 - Evolution of Paper as a Building Material:

The second chapter highlighted the evolution of paper as a building material, especially in Asia, where it frequently replaced vertical walls, imparting structures with a unique lightness and harmonious diffusion of light.

Chapter 3 - Iconic Figure: Shigeru Ban, the Modern Paper Architect:

The third chapter focused on an in-depth study of the iconic figure of Shigeru Ban, dubbed "the modern paper architect." His journey, preference for paper tubes, and contribution to popularizing the material were examined in detail.

Chapter 4 - Paper Construction:

The fourth chapter, titled "Paper Construction," explored the composition of cardboard to ensure its resistance to weather conditions. The advantages of cardboard in terms of durability, ecology, flexibility, and efficiency were emphasized, acknowledging the challenges related to moisture, fire, and insects.

Chapter 5 - Shigeru Ban's Projects:

The fifth chapter examined various projects by Shigeru Ban, highlighting their initially ephemeral and nomadic nature. The results of studies demonstrating the resilience of paper structures over several decades were presented.

Conclusion:

The conclusion of my thesis reveals that paper architecture, often perceived as ephemeral, gains durability through experimentation, research, and adaptation. Quoting Shigeru Ban, "Everything is possible, everything is usable," paper emerges as an environmentally friendly alternative in an era where ecological awareness guides our architectural choices. As architects, it is crucial to explore bold alternatives, such as paper, and recognize that sustainability lies in experimentation, research, and openness to unconventional choices. This thesis demonstrates that what may seem fragile can, with time and appropriate attention, prove to be robust and enduring, making paper architecture a true longevity.

WORKSHOP

Tunnels Interwoven with Ecology

The goal of this workshop was to redesign the least well-lit and noisiest place in Brussels to address lighting and acoustic issues. To achieve this, my team and I chose the transition bridge between Rue de Brabant (a commercial street) and Gare du Nord, where building heights amplify noise. This is further intensified by the train passing over the bridge and cars driving below.

Our initial solution was to cover the railway with a polycarbonate shell that evened out the light and allowed 90% of natural light to pass through.

In our second solution, the natural light that came through the shell was captured by a new mirror pipe technology. This, within the tunnels, would create an effect of natural light.

The third solution was to insulate the train tracks to prevent vibrations and install clear polycarbonate windows to shield pedestrians from noisy cars.

At night, the entire area would be illuminated by a light that uses batteries in a liquid state. These batteries absorb sunlight during the day and emit a greenish light in the evening, capable of illuminating an entire neighborhood in a 100% natural manner without any polluting source.

LUMIERE BIOLUMINESCENCE

Surface éclairer

Réflecteur de lumière naturelle

Economie

COQUE EN POLYCARBONATE

permet l’éclairage de 100m² de panneaux permettent d’éclairer un espace sur

Les personnes passant sous le pond peut avoir à la fois l’information sur le temps qu’il fait en extérieur mais également ressentir les effets du soleil, sans ses désavantages (chaleur et rayons UV sont filtrés)

On réaliser une économie de plus de 1.000kWh/an.

D’une dimension unitaire de 120x60cm et 18 lentilles par module, (ciel dégagé avec une luminosité naturelle de 80.000 lux) correspondent à 14 ampoules à incandescence de 40 W.

Lumière

Coques polycarbonate

Au vu du manque d’animation et une forte insécurité à l’intérieur du pont pendant la nuit, nous avons eu l’idée d’utiliser la lumière bioluminescence. Celle-ci possède de nombreux avantages : Elle dispense une lumière non-agressive. La bioluminescence peut lutter contre la pollution visuelle qui concerne 80 % de la population. Elle permet de réduire les dépenses. C’est un éclairage qui ne rejette aucun déchet. De plus, elle est autonome et n’a donc besoin de rien pour commencer à émettre de la lumière contrairement à l’éclairage électrique actuel.

Ce système permets a la lumière naturelle de repasser à 100% et être même plus intense, ce qui un avantage pour le système de conduit de lumière en poly-carbonate même matériaux) de retransmettre la lumière.

Transport de la lumière par fibre optique

PROPRIÉTÉS : Transparent

Résistance aux chocs / Longévité

Isolant thermique 1.1 W/mK)

Et de nuit ce matériaux permets d’illuminer la lumière à l’intérieur afin d’éclaire ses alentours.

Mais il permets surtout de réduire les bruit de train et créé une réflection afin que le bruit reste dans cette couches protectrices et ne dérange pas les citadins sachant que ce pont n’est pas un arrêts de train mais juste une zone de transitions.

Onde émise Réflexion

Silicone Plaque polycarbonate 16mm Tasseau

Maçonnerie

Résistant aux charges de fort vent Légèreté

Installation facile et rapide (joint de langue latéral et de cannelure)

Réducteur bruits des rails de trains

Acoustique

Longueur sur la taille (jusqu'aux limites de transport)

Certificats du feu

La solution qu’on a trouvé pour faire face à cette problématique est d’utiliser la voie HAS, pour réduire efficacement ces effets de vibrations. Apres les essais qui ont été réalisés conduisant à une atténuation des vibrations 20 dB à 63 Hz.

HAS est constitué de lourdes traverses monobloc en béton posées sur des patins élastiques dans une gaine rigide. Ces traverses sont posées 10 fois plus vites que les voies à traverses conventionnelles et sans exige une main d'œuvre hautement spécialisée. Le coûts de construction en moins de 30%.

Laisse passez la lumière de 90%

Uniformisation de la luminosité en dessous

Filtre les UV agressif

En journée : Laisse passer la lumière naturelle pour éclairer tout l’intérieur de manière uniforme.

Réducteur de bruit polycarbonate

son processus de propagation, l'insertion d'obstacles tels que les murs antibruit ou la mise en place de absorbants sur les murs (acoustique) comme suit: volume entre les véhicules et les récepteurs dans l’environnement, la de

De nuit: Illumine l’extérieur comme une ampoule

caractéristiques inhérentes à

Diminutions de la diffusion du bruit de 80%

Absorption du bruit de 60% v

absorption, reflexion atténuer transmission. Tous ces facteurs déterminent l'efficacité globale des dispositifs de réduction du bruit utilisés dans le processus de transmission du bruit routier Ces trois phénomènes physiques restreignent l'efficacité du mur antibruit, c'est-à-dire que la réflexion absorption, la diffraction et la transmission des ondes sonores sont directement liées à la longueur d'onde, et donc également liées à la fréquence qui lui est inversement proportionnelle.

16mm

Mur vert , absorbant bruit

Comme tous acoustique naturelle, le mur végétale est l’un des meilleur isolant acoustique, il réduit le son de 5db et peut augmenter jusque à 60db selon ça superficie c’est a dire près de diminué de 92% le bruit en sur plus dans notre

PEUT-IL RESISTER AU FROID ?

Grâce à la couche en géotextile qui agis comme couverture sur les racines des plantes et au système d’irrigation fermer PEUT-IL RESISTER A CETTE URBANISATION ?

1. Structure porteuse en acier

autoregulants

Lentilles qui concentre la lumiere

2. Gabion inox ou galvanisé

3. Substrat (liège, fibre de 4. Ligne de goutteurs

5. Feutre géotextile

6. Assemblage des grilles

7. Bac de récupération d’eau

Système d’irrigation

HAS - DIMINUTION DU BRUIT FERROVIAIRE

HAS - DIMINUTION DU BRUIT FERROVIAIRE

Capteur de lumiere:

Avant Après

Après

Avant

DESIGN COMPETITION

ADAM MUSEUM DESIGN

A collaboration was made between the architecture students and the design museum. The goal is to find an alternative to adapt the museum to the visit of children. The idea is to create a visit that would not disturb the visitors, the staff members and that would be playful and adapted to both the children and the museum.

STORY ABOUT THE MUSEUM:

We learned that the museum could be set up thanks to the collection that Phillipe Decelle who recovered rare collection pieces in the city's garbage. Over time this passion has grown into an exceptional collection.

RESEARCH AND VISIT TO THE MUSEUM

Before starting this project, we had several weeks of trainings for us modules I and we joined the project of modules II once we were trained. Each student of module II presented us her idea. Louise with her reduced forms of the objects of the museum, Maxime with his idea of productions of the objects of the museum with their technique of production, Eliott with his 3D visit and finally Tehjay who creates a kind of object hunt through the museum.

I immediately liked his idea that I will detail now. The idea is to create cards that represent the place and time of some object in the museum. In order to create a negative so that the children can look for the object through the cards in the museum and find it in its context. The whole inspired by the world of Pokémon me who was a big fan of this animation. Moreover Tehjay had a problem with the fact that his idea was a game and that for the museum it was not conceivable that the children run around, touch or make too much noise. This kind of thing is very complicated, I thought I could be useful, having had a training in animation patented by the ONE.

LINK BETWEEN POKEMON AND THE MISSION DESIGN MUSEUM

DESIGN

To make the game work we had to create and imagine the different elements explained in our story in sub point below. That is to say:

THE STORY

The introduction of each Pokémon game begins with the explanation of the adventure of the top trainer or teacher, here we begin with the story of Philippe Decelle who is presented as Professor Chen, it is they who introduce us into the story that gives the mission to a young child to take over.

The collection

We are of course talking about Phillipe Decelle's collection of found objects. But in Pokémon, Professor Chen captures Pokémon to learn all about them. And he creates a form of collection that he calls the Pokédex. This is categorized by Pokémon type, such as fire, water, electric or earth. We know that Philippe's collection will be divided by type of plastic. Each of the plastics will be represented by a geometrical shape.

The collector

The collector is the plastic bag that the visitor will get at the entrance. It will contain the cards in the museum, it is drilled to leave room or logo that can be filled by badges (explained in the badge part).

At the front we decided to create an opening for easy access to the cards because on the day of our crash test we saw that children had difficulty retrieving it. We decided for the final version to create a PLA shell that was printed in 3D machines. In which we clip facets in Plexiglas on which we engraved the logo of the museum and the spaces for the badges. This to simplify the work after the game. This allows you to simply remove the facets at the end of the game. I worked on this shell and made several evolutions for 3D printing:

The 3D model

This model was to be attached to the pants as the first prototype totally in plexi. The problem is that it is neither practical nor comfortable. The user needed to have it easily in maus without unhooking it from his pants. Too much unnecessary material and support not allowing a correct printing. The alignment of the buckles and the finished model is not TOP. Complete and final version, finished product, there is a continuity, simplicity that makes it light visually!

Phillipe Decelle - Professeur Chen

Collection Phillips Decelle Pokedex from Pokémon Our Collector Collectors badge Pokémon

THE CARD

The main purpose of the cards is to find the objects through the museum. So we have assigned a first test to see if it is possible.

How to draw our cards, we first made a quick analysis of the one produced by Pokémon.

The cards are represented like the Pokémon cards with similar information for example: the Pokémon cards give their names and a picture of the Pokémon in its middle. On the top left a logo shows the type of the logo and the Pokémon level.

We divided the work into groups and each group had seven cards to work on, for my part, it was this one below.

FUNNY THINGS ABOUT SOME CARDS

For the Ove, being a light that was intended to be inspired by the moon I thought it was great to put references to Star Trek, so that adults have the little pop culture reference.

For the Charlie chair I put on the drawing paper of RALPH a Disney cartoon the first to group all the Disney cartoons and explain to children how to function the internet and the virtual. I added the table from the chair collection, because I find it really impressive the fact that you can see that plastic is recycled with these different particles.

For the Molar and Saissi chairs dating from the 70s I tried to reproduce the wallpaper in vogue at that time with these geometries quite atypical. The same goes for the Alba where I left a brick wall with a poster of the Beatles for the release of their album that year.

Here are the tests we did at the museum with the objects

Master collector

UNE ATTITUDE

L’idée d’adapter le musée aux plus jeunes, nous a permis de nous rapprocher de nos meilleurs souvenirs. Nous nous sommes inspirées de notre dessin animé préféré de notre enfance : Pokémon une aventure qui commence au musée du design.

UN OBJET

L’univers de Pokémon nous a permis de développer un jeu composer de plusieurs objets afin de créer une sorte de chasses aux trésors dans le musée du design.

On retrouve le collecteur qui se rapproche du Pokédex qui sélection permets de collectionner Pokémon sauf que celle-ci contiennent les cartes du jeu. Les cartes designer inspirer des cartes Pokémon, avec ses différentes informations tel que : le type du plastique, le créateur, l’année de sa création et le dessin qui le recontextualise. Seul la silhouette de l’objet permet de retrouver l’objet à travers la cartes dans le musée (petit clin d’œil quizz de fin de générique qui nous demandait de reconnaitre les Pokémon à leur silhouette). La boite à badges comme les badges remis après une victoire dans les arènes Pokémon.

Une fois le collecteur remplis le joueur reçoit un objet de la collection miniaturisée pour obtenir sont sa propre collection à la maison. Et bien sûr pour le motiver à revenir pour obtenir un autre objet une prochaine fois.

À bientôt pour de prochaine aventure, Tejhay, Farah, Arno.

FINAL POSTER OF THE COMPETITION AND GET TO THE FIRST PLACE

AN ATTITUDE

The idea of adapting the museum to the youngest, allowed us to get closer to our best memories. We were inspired by our favorite childhood cartoon: Pokémon, an adventure that begins at the design museum.

AN OBJECT

The Pokémon universe allowed us to develop a game composed of several objects in order to create a kind of treasure hunt in the design museum. We find: the collector which is similar to the Pokédex, it allows to list the Pokémon. Here, the collector contains the cards of the game. The designer cards inspired by Pokémon cards, indicate different information such as: the type of plastic, the creator, the year of its creation and the drawing that recontextualizes it. The silhouette of the object and the decor allows to find the object through the card in the museum (a small nod to the quiz at the end of the credits that asked us to recognize the Pokémon with their silhouette). The badge box located near the object allows you to get a badge to complete your collector. This refers to the badges given after a victory in Pokémon arenas.

Once the collector is filled, the player receives a miniature collection item to start his own collection at home. And of course to motivate him to come back and get another item next time.

See you soon for new adventures, Tejhay, Farah, Arno.

Pinheiro Albia Tejhay

Mesbahi Farah | Reggiani Arno

B : BUILD

A : ARCHITECTURE

H : HEARTH

I : ICONIC

BUILDING ICONIC ARCHITECTURAL HEARTS

象徴的な建築のハートを作る