Academic Work 06
Fold Out Personal Work
a Drop of Green
All under one roof
Cinét - (x)
Ceci n’est pas a house Architemp’
Pete the Monkey
Salon du livre
Paul-Antoine Lucas Master student AHO Oslo School of Architecture and Design
BIG Bjarke Ingels Group
01/2017 - 07/2017 Copenhagen, Denmark Design Assistant
AHO Oslo School of Architecture and Design
06/2016 - ongoing Oslo, Norway Student Assistant for OCCAS Research Lab 06/2016 - ongoing Oslo, Norway Student Assistant for the PriArc Research Project
AHO Oslo School of Architecture and Design
2015 - 2018 Master’s Degree Architecture
2011 - 2014 Bachelor’s Degree Architecture
Hong Kong University
Fall 2013 Exchange Semester Architecture
2012 - 2013 Engineering and Building Technology Classes
Lycée Saint Joseph
2011 Baccalauréat Scientifique
AHO Oslo School of Architecture and Design
06/2016 - 10/2016 Graphic Designer and content editor for the publication: In Transit - Architectural Solutions in emergencies in collaboration with NORCAP and the Norwegian Refugee Council
09/2014 - 08/2015 Paris, France Architect Project Manager Assistant for Asia-Pacific zone and Store concept Development
01/2014 - 03/2014 Paris, France Architectural intern
Riken Yamamoto and Fieldshop
06/2013 - 08/2013 Yokohama, Japan Architectural intern
“Montre-Moi / Vis meg”
11/2016 for the Oslo Triennale in collaboration with LAN Architectes and Eriksen Skajaa
10/2016 OAT Academy at the Stenersen Museum in Oslo
CHART ART FAIR Architecture Competiiton
2017 Honorable Mention
ISOVER Multi-comfort student contest
2014 Honorable Mention
In Transit Architectural solutions in Emergencies
09/2016 publication of Building Common and Common Ground Project
Architecture d’aujourdhui #414
09/2016 publication of Cartographie Culturelle course work
10/2015 Participation with the project Cinét(x) for the competition Climax
Various Medias (Archdaily, Designboom, Architizer, ...)
2015 publication of The Wave project
2015/2017 publication of Common Ground and The Wave projects
2014 - ongoing
08/2016 Building and installation of a pavilion for Pete the Monkey Festival in Saint Aubin sur mer, France
06/2015 Building, design and construction of the scenography for the Salon du livre at la Maison de l’architecture 03/2015 Participation with the project Temp’station for We Love Green music festival 2015 - selected project 06/2014 Building and Installation of the project Totemp’ for We Love Green music festival 2014 http://cargocollective.com/architemp
Spring Semester 2016 In Transit: Safe Spaces in Crisis Contexts Instructors HĂĽvard Breivik Tone Selmer Olsen
This project presents a new form of urban planning, focusing on refugee integration as an opportunity for revitalizing cities. With the increasing number of refugees and asylum seekers fleeing conflicts and seeking sanctuary in urban areas, thereâ€™s a great opportunity for host communities to better benefit from the assets that refugees bring to their cities. With this project I am aiming to turn the under-utilised spatial potential of cities into economic and social incubators within the existing urban fabric.
SELECTED WORK KITCHEN UNIT BEDROOM UNIT BATHROOM UNIT
AXO AXO AXO
01 02 03
Common Grounds Individual work
To showcase the potential of this approach, I have chosen to work with an area in Athens: the Karameikos-Metaxourgeio district. This area represents a challenge that many European cities are currently facing: a decrease in population numbers and consequently a lack of human and financial resources. Today, 46% of the urban spaces in the KarameikosMetaxourgeio district are currently not occupied or used in any other ways. The project is about creating a new common ground, a space for social interactions enabling cultural integration through a shared public space. It is also with the creation
BUILDING TYPE 2 BUILDING TYPE 2 BUILDING TYPE 1 BUILDING TYPE 1 BUILDING TYPE 3 BUILDING TYPE 3
PLAN PLAN PLAN PLAN PLAN PLAN
01 02 01 02 01 02
and implementation of a new housing typology, an evolutive system where the maximization of the common and small private spaces that this community oriented living is generated.
Due to a simple and smart steel scaffolding structure, this generic system can be implemented in various sensitive context, in urban settings as well as in isolated areas. The structure is not particularly innovative but economical and easy to deploy and disassemble. With the use of simple standardized element to create the structure and define the aesthetic of the buildings, elements that are normally considered as temporary and purely functional gain a certain value. With this new construction system, the construction process becomes intimately linked with the life within the building. Once the construction is over, the
Common Space Private Space Bathrooms
0012 structure put in place becomes a canvas for appropriation to its residents, the scaffoldings are the extension of the units to the outside public life, a buffer zone that they can share with their newly created community. Through community programming, the common ground created around and within the structures become a new public layer within the existing urban fabric, linking building typology and urban morphology. It’s a catalyst to start provoking social changes, where a new type of local community living integrates the local population and refugee’s needs. The new housing typology created forms an informal type of planning, opening the regular Athenian grid from within and meant to change habits and interactions between its inhabitants.
BUILDING TYPE 3
The differentiation that can be made between the new structures and the existing buildings around. Those light and simple structures whose aesthetic is based purely on functional and structural concerns become the new face of the city’s renewal, a new beacon of an era where students, elderly, professionals and family can share and cohabit in a flexible and welcoming environment propitious for new encounters and dynamics.
VIEW PHASE 1
VIEW PHASE 2
Fall Semester 2016 Behind the Hill, Into the Wild
Instructor Luis Callejas
Shaping Landscape Wing Hang Winza CHOI Paul-Antoine LUCAS
This project investigates the creation of landscape identity, as stated in Emerging Landscapes (Routledge, 2014), landscape as a â€œcultural construct to give meaning to our environment symbolically and in the imagination in the way that these shapings are expressed and inscribed through diverse forms of creative practiceâ€?. This definition of the notion of landscape raises for us the ambiguity of the discipline perspective of the definition, where landscape can be seen through either a scientific or artistic scope. Because of the cultural rootedness of the word, real and imagined landscapes are often inseparable in the
Mudstone / Sedimentary rock
69 mm 67 mm 57 mm
57 mm 60 mm
22 mm 28 mm
collective imaginary and introduces the discussion of the notion of landscape and territory as constructed speeches. To what extent does our perception of the Landscape have to do with our knowledge about it? Tropical and Andean landscapes are often fantasized and idealized through representation. The effect that the representation of the landscape has on the shaping of the collective imaginary is undeniable. As the title of the project Shaping Landscape states, we touch upon the invention and re-invention of the landscape through visualization. Due to a lack of representation and study of the Sierra Nevada de Santa Marta mountain over the past 70 years, there is no cultural construct in the collective imaginary other than general preconceived visions of tropical montane landscape. We saw through this project an
opportunity to fill this hole and build up the Sierra’s identity, in some ways, shape the landscape. Our approach to Landscape study relies on the idea that the context has to be described and conceptualized as an architectonic object, a sort of “autonomous form of architecture” to build this new identity. The first part of the project is research-based and focuses on data collection and visualization as illustration of findings but also as design tools. We are placing ourselves as generalist experts – not unlike some explorers before us – depicting a newly discovered landscape. Through surveying and charting the territory of the Sierra Nevada de Santa Marta
Western route March 16
2nd attempt March 16
1st attempt March 15
Eastern route March 15
feet of the Glacier March 14
Gloomy Gulch March 11
Mamancanaca March 10
Cungucaca Ridge March 9
Aduriameina Valley March 9
San Sebastian March 8
Figueroa Peak March 8
P. Cristobal Colon 5775 m
P. Bolivar 5775 m
P. La Rena
permanent snow line (4900m)
El Guardian 5235 m
Mamancanaca 3485 m
4415 m 4000
Tree line (2700m)
3 00 35
c 2 3350 m
El Mamon 3710 m
(SNSM), we want to extract manifest landscape concepts and frame our research into design resources. The maps created do not necessarily represent material according to objectives but more as strategies to define the design objectives. The research illustrates the landscapeâ€™s inherent idioms that we want to convey in its visualization, such as an accidental topography, a hardly legible landscape morphology and the complexity and diversity of the elements constituting it. Through this process, we intend to set a base for future designs, the drawings become instruments appearing synoptic and informative, the detailed indexical properties specific to maps, charts and surveying documents seemingly objective intend here
San Sebastian de Rabago 2000 m
to communicate our vision. This work is about the challenges that come into play when trying to measure and grid a landscape. In the second part of the project, we look at how abstraction and interpretation of the data can constitute a project where the context becomes the content. The design of landscapes can become a tool of communication and further influences the perception of the identity of the mountain in the collective imaginary. The building of the identity of the mountain becomes the design where the visual reduction of the landscape through images is used to subjectivise the normative codes of the more â€œobjectiveâ€? drawings of the first phase. The collages state our perception of the identity Figueroa 2880 m
2 5000 5000
10°42’58.31” N - 73°39’14.83” W 3420 moh
of the territory, the representation is both visualization and reality. We try to play with vision as the dominant mode of encountering and understanding landscape with the creation of reconstructed realities, fragments that shape the overall identity. The use of photograph-like documents makes the reading of the landscape more accessible, they nonetheless remain informative documents that are here to facilitate the construction of a new understanding of the landscape. The technique used defines an attempt to shape a landscape, a constructed reality of a place through particular interpretations of its properties ordering the ways
10°49’44.88” N - 73°40’32.15” W 5033 moh
10°42’39.17” N - 73°40’39.89” W 3105 moh
10°46’52.26” N - 73°40’05.10” W 4256 moh
things are and their proportions. Those drawings are aesthetic appreciation underlining the importance of a narrative in the reading of the landscape. In this Anthropocene era, landscape architects and designers are privileged mediators of landscape, renewing our understanding of landscape. The Sierra Nevada being one of the last “untouched” and under represented areas left in the World, with this exercise, we try to envision and influence how landscape architecture can prepare for and even help guide the landscape’s future in terms of either design, preservation, vision or simply future studies.
Spring Semester 2014 Pour des lieux dâ€™apprentissage innovants Instructor Sandra Planchez
The key element of our project was to create an eco-friendly primary school that offers security and comfort to students as well as a place partially open to the public, becoming a part of the urban landscape. In order to do so, we exploited the image of a ribbon resting slightly on the ground and folding out towards the lower part of the site. A concrete flight of stairs cuts the building into two parts and creates the links betweent the upper part of the site and the lower part of the
site. This staircase that we called “amphitheatre” would be as much a part of the school as a part of the city, as a public commuting place. The orientation of the façades follows the daily sun path in order to take advantage of the natural daylight for the lighting and the production of energy (thanks to solar panels placed on the brisesoleils). With the implantation of the site in the slope, the impact of the building is minimized, only 6% of the natural topography is excavated for the foundations.
Fold out Seyeong GWAK Delphine LEWANDOWSKI Paul-Antoine LUCAS
0030 CLASSROOM CLUSTER CROSS SECTION CROSS SECTION CROSS SECTION CROSS SECTION
CONFIG. CONFIG. CONFIG. CONFIG.
01 02 03 04
natural zenithal lighting in the classrooms. At the same time, since each classroom has a large glazed facade, brise-soleils are placed on the souther faรงades to control the flow of direct sunlight coming in the building. The latter are covered in vertical solar panels in order to use the surface directly south oriented to produce energy for the building. The threshold created by the balcony/terrace space along the classroom is a way to create a setback protecting from the sun in summer but allows for the sun to come in during winter thanks to the large window openings.The double oriented classrooms, with the help of the pitched roof create an efficient naturally ventilated space. Finally, the green roof is here to minimize the thermic effect, serves as an insulation layer to keep the building fresh at all times.
AMPHITHEATER VIEW OUTDOOR CORRIDORS
MODEL PICTURE MODEL PICTURE
ROWS OF CLASSROOM
Spread in between the classrooms are the rooms destined to be accessed freely by all the students such as the multimedia room, cafeteria, gym, library, etc. those spaces have a double light to bring light in the building and into the classes thanks to their glazed facades.
Aligned in rows of 4 and spread on two floors, they can communicate between each others thanks to sliding doors allowing for teachers to reunite classes for some of the lectures of for workshops.
At the top of the slope, the playground gradually goes down the topography in order to follow the natural site. The stairs accesses to the common rooms and the classrooms on the first level are situated in between the latter.
Creating the link between the school and the city, this walkway / playground can be appropriated by the students during the working hours and by the public when the school closes which gives it the potential to be a central point of the cityâ€™s life.
Fall Semester 2013 Building Lands, Landing Buildings Instructor Olivier Ottaevere
Based on a conceptual formal approach to architecture, this design project started from a precedent case study of Toyo Itoâ€™s Tama Art University Library introducing to me the notion of reinvention of an element which I decided to pursue and experiment: the Arch. Starting from the structural integration of the arch as an outside structure to an organizational structural element of the building itself. The work process has been made through iteration and material testing as can be seen on the material shown hereafter.
The Arches experiment Safina So Kiu Yin Paul-Antoine LUCAS
SELECTED WORK The formwork experimentation was an idea aiming at fully experimenting 3-dimensionally the materiality of the vault. Playing with variable parameters and using both computationnal tools and physical ones so as to construct a reflexion. The idea was to experiment through various stages the evolution of an idea linking a spatial experiment and a physical experiment. Starting from diagrams and arches study, I had to build up physical and numeric models to think about the integration spatially and structurally of the arches in a building as a component creating intriguing situationg and an innovative organization. Going back and forth between a physical approach and a virtual approach was a way for me to think about the actual building of the final project. Thinking about how the final model would be built made me think about how the building would eventually be errected. Using a repeptitive pattern in terms of geometry was a way to rationalize the final realization and not have to make a new formwork for each piece. Hence the decision to keep a certain base for further developments. After having chosen a grid to orient the different floors according to the sun path, the shape of the vaults were still to be determined. Not willing to use a simple vaulted slab, I wanted to link the different floors, which is why I chose to give an other dimension using double-sided vaults, meaning that the vaults would alternate between catenary ones and inverted catenary ones
STACKING STUDIES DIAGRAMS 01
MENT & VARIATIONS OF GEOMETRY nt, 1 rotating point --> range of 2 sets of angles MENT & VARIATIONS OF varying GEOMETRY nt, 1 rotating point --> varying range of 2 sets of angles
points right viewwith fixed range points with fixed range
front view front view
back view back view
SELECTED WORK 330’
because this option seemed to be the only one optimizing the living space of the vault. Having fixed the pattern followed by the curve, the geometry of the latter the range of orientations appeared topostitioning be uninhabitable because of the waste of space created by the curve of the vault. Which is why I opted for a serrated slab functionning like a vault. Using double-sided vaults and organizing the duplexes so stack the two layers on 2 levels that they are still double-oriented 03/ was a challenge. To solve the problem, the building ended up alternating double-height double sided vaults and regular double sided vaults. For the last part of the project, the experiment conducted so far had to be confronted to an ideal site with a curved slope. One of the problem I had to face was the integration of a vertical circulation without & PARAMETERS damaging the geometry already in place whic is why I placed the circulation space directly carving the natural topography of the site on the Northern façade. And the accesses to the building were defined by the ground levels on the groundfloor and on an intermediate floor and radial lines within the designated range define a square bounded by the 2 sets of radial lines dedicating those floor to public use symbolized on the façade with double-height vaults. W
et of lines
DEVELOPMENT & VARIATIONS OF GEOMETRY back view front view 1 fixed point, 1 rotating point --> varying range of 2 sets of angles
extrude vaults along the lines and stack the 2 layers together
2 rotating points with fixed range
ORIENTATION PLANS OPTION A OPTION A OPTION A OPTION A OPTION A
OPTION A DIAGRAM 01 FRONT ELEV. 01 BACK ELEV. 02 LEFT ELEV. 03 RIGHT ELEV. 04
ORIENTATION PLANS OPTION B OPTION B OPTION B front view OPTION B OPTION B
OPTION B B DIAGRAM 01 FRONT ELEV. 01 BACK ELEV. back 02view LEFT ELEV. 03 RIGHT ELEV. 04
postitioning the range of orientations
eight va ults
do ubl e -he ight, do ubl e -he ight, si ng l e - height
pre ce de nt st udy | for mwo r k de sign | protot y p e a s s e mblie s p.
TESTING OUT D I FFER ENT CONFIGU R ATIONS OF VAULTS Base d on the co n guration of a conti nu ou s u ndulating vaul ting su r face b uilt up on the doub le - si de dne ss of a oor, more con gu rati ons are te sted ou t to re solve t he se t b ack of ine cienc y c re ated by the tilting walls.
OPT 3 Thi s inclu de s the atte mp t to conve r t c ur ve d t i lting wal l sION to more sq u are one s, so as to minimi ze the loss of sp a ce.
OPT ION 4
p re ce d e nt st udy | fo r mwor p re k ce d edsiegn nt st| udy p rotot | fo yp r mwor e a s ske m d ebsil ign e s | p rotot yp e a s s e m b l i e s p. p.
pre cedent study | fo r mwor k d preced esign ent | pstudy rotot yp | efoassemblies r mwor preced k ent d esign study | protot | for mwor y p e kassemblies d esi gn | protot y p e assemblies p. p. p.
TES TI NG S A NDWICH TE STIN G SAN DWICH TE STIN G SAN DWICH PAT TER N PAT TE RN PAT TE RN Sin g le - h e ig ht vau l t s an Sin d gle doub - h ele ight - vau Sin l t sgle an- hde doub ight vau le - l t s and double he i g ht vault s c re ate he ight d i e rent va ult s he cre ight ate va diult s ntcre ate di e re nt e re sca le s o f s p aces wh ichscale can b s eofuse sp d ace s wh scale ichs can of sp b ace e use s wh d ich can b e use d m e s. di e re nttophouse rogramdim ees.re nt p rogram m e s. to house di e re nt p rogram to house precedent study | for mwor kpre desi cedent gn | study protot| yp for e mwor assemblies k desi gn |o rate protot ymwor pot e assemblies pre study | fo r b esign p rotot yp e assemblies Tocedent i ncop hk dsin To glincop e| - he ight orate b To ot h incop sin glorate e - he ight b ot h p. p. p.
sin gl e - he ight and doub l e - h e ight va ul and ts, d doub i e rent l e - h e ight and vadoub ul ts, ldei- heere ight nt va ul ts, d i e rent san dwic h ing p at te r n ssan are dwich te ste ingd p atsandwich te r n s areingte ste p atdte r n s are te ste d out to exp lore p ossib ilout it ie s. to ex p lore p ossib out to il itex ieps.lore p ossib il it ie s. I t s tar te d o
wit h a Im a mteore wit alh a m ore fo r m al t ore star for te dmoal witI th star d ofor m
T E S T IN G S A ND W ITES CH TI NG S A ND TES W I CH test, te sttes st, areb ut done, as more te st, te stbsuta re as done, more te st s are done, TIbut NGaSs Amore NDWICH PAT T ER N PAT TER N the TER u seN of sin gl e -the h e ight use anof d sin the gl e - use h e ightof an sin d gl e - h e ight an d PAT
T EST ING SANDWIC T EST H ING SANDWIC H PAT T ERN PAT T ERN Sin gle -h e ig ht va ultSin s an gle d -h doe ub ight le - va ult s an d doub le he i ght vault s c re heate i ght d i vault s c re ate d i e re nt e re nt sca le s o f s p ace s w h sca i c h le c asnobf es pus ace e ds w h i c h c a n b e us e d ro gra mme to house di e re nt pto house dis. e re nt p ro gra mme s. To i ncop o rate b o t hTos in i ncop gle - he o rate ight b o t h s in gle - he ig ht and doub le -h e ig ht va and ul ts, doub d i lee -h re entig ht va ul ts, d i e re nt san dwic h ing p at te rsan ns dwic are h te ing s tepdat te r ns are te s te d out to exp lore p o s s iout b il itto ie s. exp lore p o s s i b il it ie s.
l t h a mo re fo r ma l I t s tar te d o wi t h I at smo tarre te dfoor mawi te st, b ut a s mo re te sst, t s bare ut d a so ne, mo re te s t s are d o ne, the use of si n gle the-h e iuse ght of an d si n gle -h e i ght an d doub le -h e ig ht va ultdoub s arele rat -h eio igna htl -va ult s are rat io na l ize d an d are mo re ize re d late andd to arethmo e re re late d to th e altevault r nate si ngle r nate - heig patter ht n o f sing alterlenate -heigpatter ht n o falter singnate le - heig patte ht i ngle - he ig ht va ults a ll s i ngle -he ig ht vaal ults l doub le -h e ight vault al l doub s le -h e ight s p atte r n o falte de s ira b le p o ro si t y,detshira e b sleun lipght o ro si t y, t h ea ll ssun li ght and doub le -he ight vaults, and double with-heig ht vaults, and double with -heig ht vaults, and double with-h p e n e tra b ili t y a n d ptehe n e tra le b veililst y ofa n d t he le ve ls of sin gle -h e ight star ti ng sin gle on -heig the G/ htF s tar ting double on the -heig G/ Fht star ting double on -heig the G/ htF p ub lic s p ace s. p ub lic s p ace s.
dou b le - h e ig ht vau l t s dou are brat le iona - h e ight l - vau dou l t sb le are - h erational ight vau - l t s are rat ional ize an ddoare more ize l atedd an tod th a re e m ore ize drean l ate d da re to mthore e re l ate d to th e Sin g le - h e ig ht va u l t s Sin an d g ledo - hub e igleht - va uSin lts d - l t srean gand le - h e iguble ht vau d doub le nate psatte r ne ight o f si ng alte ler-he nate p atte r nalte oalte f si r nate rng nate le -he p atte p atte i ght r nr no fo fsisi ng ngle alte le -he r-he nate i ght i ght p atte r nalte o f si r nate ngle -he p atte i ght r n o f si ngle -he i ght al singl - he ight ssun l singl al val dou ults single b le-he -h eig ight ht va vault ults alsl doub le -h ealte ightral vault l doub le -h vault s i ght de s ira b ledi peorent rosit y, tde h esirab sunlelight p oroside t y,sirab t hl ele sun p eorosi light t y, va t h ult e al lighte - heightall re nt s cre he i g ht vaults cre ate he i g htd i evault he iate g ht vault s c re ate d i e re nt and doub le -he ight vaults, and doub wi th le -he ight and and vaults, doub doub le wi le -he th -he ight ightvaults, vaults, andwidoub wi thth le -he ight and vaults, doub le wi-he th ight vaults, wi th p e n e tra b il i t y an d the p e n l e trab ve l s il it of y an p d e n t e he trab l il e it ve y l s an of d t he l e ve l s of sca le s o f s p ace s w h i c sca h c alens boef us s p eace d s wsca h i c le h sc aonf b us e dwh ich can b e use d s peaces sin gle -h e ight s tar ti ng sin on gle th e-hG/ e ight F s tarsin doub ti ng gleon le -h-h eth ight e eight G/s tar Fs tar ti ng ti ng on doub on thth eleG/ e-hG/ Fe ight F s tar doub ti ngleo-hn eth ight e G/s tar F ti ng o n th e G/ F ppub lic smpm aces. p ub lic sp ace s. p ub lic sp ace s. gra m m e s. ro gra to house di e re nt p roto house di e rent to house die s.e re nt p rogram m e s. To i ncop o rate b o t h To s in gi ncop l e - heoig rate ht b oTo t h isncop in g l eo- rate he ight b ot h sin gl e - he ight and doub l e - h e ig ht vaults, and doub di elre e -nt h e ig htand vaults, nt vaul ts, di e re nt doubdil e -ehre eight sandwic h ing p atter nsan s are dwicte h ing s ted p atter s areh ing te s te d te r n s are te ste d sanndwic p at out to ex p lore p o s s i bout il itietos. exp lore p o sout s i b ilto itie s. lore p ossib il it ie s. exp re tefodr m m otered fo al h a m ore for m al I t s tar te d o wi t h aI tmsotar o a l wi t hI t as tar o r mwit test, but a s mo re tete s t st, s are b utd oane, s mo retest, te s t sbut a rea sd omore ne, te st s are done, the u se of si n g l ethe - h e i guhtse and of si nthe g l e - hue se i g ht of ansin d gl e - h e ight an d doub le - h eig ht va u l t sdou areb le rat- hioena ig ht l - va udou l t s bare nalvau - l t s are rat iona l le - hrat e igioht ize d an d a re mo re re ize l ate d d anto d are th e m o re to th e izere d l ate an dd are more re l ate d to th e alte rall nate r ne ig o f ht sialte ng le r nate -he p atte r n oalte falte sirng r nate le -he pi atte ghtr nr no fo fsisi alte ngle r-he nate -he i ght p atte r n oalte f sirngle i ghtr n o f si ngle - he i ght l s isng l e -ght he ight va ultalsl singl e - height va all b le h eight ig ht va vaul altsls dou b le - h e ight vaul t sp atte de s ira b le p o ro sit y, de t hseirasbunli le gpht o ro si tde y, s ira tahleb nate p atte ngle i ght nate-he p atte alults l dou singl e --he ult dou b le -h vault s i ght le unli p o rosit y, t h e sun light and doub le -he ight vaults, and doub wi thle -he ightand and vaults, doub wi th -he ightvaults, vaults, and wi doub wi vaults, p e n etra b il i t y a n d t p he e n el tra e vebl il s i t of y a n dp e tnhe of d the l e ve l s of doub lele -he ight ththle -he ightand doubwi leth - height vau lts, wi th e tralbeilve i tlys an sin gle - h e ight s tar ti ngsin ongle th-h e eG/ ight F s tar ti doub nggle onle -h e ight G/ star F s tar ti ng doub th e eG/ F s tardoub ti ng le o n-hth e G/ sFtar ti ng o n th e G/F p ub lic s p ace s. p ub lic s p aces. sin -hth e ight ti ng ono n thle e -h G/ Fight e ight p ub lic s p aces.
al l doub le - h e ig ht vaul t s
alte r nate p atter n of single -he ight and doub le -he ight vau lts, with sin g le - h e ig ht star ting on th e G/F
alte r nate p atte r n of single - he ight and doub le - height vau lts, with dou b le - h e ight star ting on th e G/F
sin gle -h e ig ht, d o ubsin le -gle he ight, -h e ight, d o ubsle i ngle -he ig -hht, e i ght, d o ubsle i ngle -he i -h ght, e i ght, d o ub le gra -he dual i ght,trans fo r m ati gra ondual f romtrans fo r m atigradual on f rom transfor matgradual ion fro mtransfor mation double from -height vaults double on the -heig 2 doub le -h e ight, s i n gle doub - hele ight, -h e ig ht, s i n gle -he ig s i ngle -hht, e i ght, d o ubsle i ngle - he i -h ght, e i ght, d o ub le -he si ngle i ght,- he ig ht vau lt ssito ngle - he ig ht vau lt sdoub to le -h e ig ht va ults double to -heig ht va ults levels to of public space, levels oflepub sing do ub le -h e ight, s i n gle do-h uble e i ght -h e ig ht, s i n gle d o-h ubele i ght -h e i ght, s i ngle d o-he ub le i ght -h e i ght, s i ngle -he do i ght ub le -he ight vaultdo s ub le -he ig ht vault ssin gle -h e ig ht vaultssing le -heig ht va ultsht vaul ts fo r al lheig heig other ht vaul oorsts
sin g le - h e ig ht, dou b l e -sin he ight, gle - h e ight, dou singl sin b gle l ee- he --hheight, eight, ight, doub dou bllee-he -singl height, ight, e - h e ight, doub singl gradual l e e-he - h ight, etrans ig ht, fo d or m ubati leon -he gra firom ght, dual trans fo r m gra gradual atidual on f rom trans transfor fo r mmati at on iongradual f from ro m transfor m gradual doub at ionlef-h ro transfor emight va mults at ionon doub f ro the mle2-h e ight vadoub ults on le -hthe e ight 2 va ults on the 2 dou b le - h e ig ht, sin gl e -dou he ight, b le - h e ight, sin singl dou gl ebe-le he - h- height, eight, ight,doub sin gll ee--singl he height, ight, e - h e ight, doub singl l single e e- he - h ight, e ig - he ht,igdhto ub vau lelt-he s to i ght, si ngle - he ig ht vausi doub ltngle s tole - he -h ig e ig hthtvau va ults lt s toto doub le -h e ig ht le vave doub ults ls of to le p-hub e ig lichtspva ultsle to vegle ls of leace, ve ls sin of gle p ub- lic sp ace, sin gle ace, sin - p ub lic sp do uble - h e ig ht, sin gl e -do h euble ight - h e ight, sin doub dogluble e -l eh -e-hhight eeight, ight, singl sin glee-he -doub h eight ight l e - h e ight, singl doub edoub -he l e - hight ei leght, -he igs ht i ngle vault -hesi ght do ub le -he ig ht vault do ub s gle le -he s sin gle -h e ig ht sin -h eig ight ht vault va ults ults sinvaults gle -h efo igrhtalva ults heva i ght l ot he heirghtoor vaults fo r he al li ght ot hevaults r oorfo s s r al l ot he r oor s
sin g le - h e ig ht, d o u b l esin - hegig leht, - h e ig ht, d o ussin bi ng l eg-lle he e --hhigeeht, iig g ht, -he e - h e ight, doub gradual l e -he m ation gradual from ation gradual from transfor at on ion gradual ro m transfor m gradual at ion le f ro-h me ight va doub ults doub onf ro the le -h 2 e ight va ults onlethe 2 ht, doub dou blleesingl - height, ight, singl e - hight, etransfor ight, doub l e -he ight, transfor m gradual trans fo r mmati f from transfor mat ion m doub -h e ight va ults on the 2 doub le - h e ig ht, s i n g l edou - he b igleht, - h e ig ht, s i nsdou gi ng l e -b l he ele- hig eht, iegig ht, --he e - h e ight, doub l e single - he - he ight vault s to single s tob le- he dou -h ig e ig va ults doub to le -h e ig ht va leults ve ls to oflep-hub lichtspva le sin ve of- p ub lic sple ace, ace, - lic sp ace, sin gle -h ht,doub sin gll eesingl height, ight, singl e - hight, e ight, doub l e - he ight, - he ight vaultsingle hthtvau lt s to doub e ig ults tolsgle ve lssin ofgle p ub do uble - h e ig ht, s i n g l edo - huble e i g ht- h e ig ht, s i nddo golub euble - hl ee-i-h gheht g ht, -he l e - h e ight, singl e -he doub -he ight vau lt sight doub le -he ight vaudoub ltsin s gle -h eight ig ht vault va ults vai ults ght l ot hehe i ght r oor vaults fo r alhe l ot he rvaults s oor sfo r al l ot he r oor s eiig ht, singl sin gleedoub - h eight ight doub l e ight - h eleight, singl e -he le -he s sin gle -h e ig hthe sinvaults gle -h efo igrhtalvaults i ght
gradua l transfo r m ation f rom si ng le - he ig ht vau lt s to do ub le - he ig ht vau lts
gradual transfor m ation f rom dou b le - h e ight vaults to sin g le - h e ight vaults
dou b le - h e ight va ults on the 2 le ve ls of p u b lic sp ace, sin gle he ight vaul ts for al l ot he r oors
GEOMETRY SINGLE HEIGHT DOUBLE HEIGHT ANGLED ARCHES SINGLE HEIGHT DOUBLE HEIGHT MIXED
DEFINITION CONFIG. 01-04 CONFIG. 05-08 CONFIG. CONFIG. CONFIG.
09 10 11-17
FINAL CARDBOARD MODEL FORMWORK CONCRETE CAST CONCRETE CAST CONCRETE CAST
PRODUCTION BACK ELEV. 1/50 DIAGRAM 01 TRIAL 01 TRIAL 02 TRIAL 03
The use of geometrically rationalized vaults was also a way to reinforce the structure. Indeed the pre-casted self-supporting vaults can easily be vertically stacked and the horizontal sufaces would then allow for the slabs to be attached to one another. This is what was verified with the realization of concrete casts of various slabs of the buildings for the final model but unfortunately I to correctly do the formworks due to the thinness of the slab at 1/50 scale. Which is why I ended up making a cardboard model of the final project.
August 2016 Iceland Trekking Cabin Competition Beebreeders
The Lighthouse trekking cabin settles as a landmark on Iceland’s various natural grounds, untouched by human hands, becoming a new icon for Iceland’s unique landscape. Its shape comes from the image of a house put upsidedown, as an allegory to its first principle: the minimal impact on the site it settles in. The minimal size of the foot is thus designed to be adaptable to any type of grounds. This minimal impact is applied spatially, structurally and energetically to the diverse aspects of the project. In order to reduce the impact on the site and optimize the space vertically, the lighthouse cabin rises up on 6 stories. Each one has its own single function, allowing 10 guests to live comfortably for a week.
Lighthouse Delphine LEWANDOWSKI Hélène LACOMBE Sophie LAMBOTTE Paul-Antoine LUCAS
3RD / LIVING 6TH / VIEWPOINT 2ND / KITCHEN 5TH / BEDROOM 1ST / BATHROOM 4TH BEDROOM
PLAN PLAN PLAN PLAN PLAN PLAN
01 02 03 04 05 06
SECTION PERSPECTIVE 01
0052 The dimensions of the cabin are set on the basic module of a single bed (90x210cm). A space is then created around the center, rhythmed by the structural grid and containing built-in furniture. These furniture modules each corresponds to one function and are placed in-between the structural columns. This minimal impact is applied both structurally and energetically. Structurally, the minimal size of the foot is designed to be adaptable to any type of grounds. The main structure is made of aluminium, a local material that is 100% recyclable. Energetically, the
building does not depend on any geothermal or hydroelectric network. That means it is totally independent from the ground it lands on. Electricity is supplied by a rapeseed oil cogonerator and by solar panels. Water is supplied by rainwater from a purificator connected to a water tank. Organic waste and used water are recycled. All these technical facilities are located in the foot of the building. As a landmark, the vertical tower showcases the bigness and the curves of the natural landscapes, and blends in them as the facade reflects the surroundings.
5TH / BEDROOM 3RD / LIVING
April 2017 Living Working Tokyo Competition ARCHsharing
CONCEPT The building manifests itself by a series of interlocked floors organized around a common staircase vertically distributing the various rooms. The private living spaces for the residence are facing the street with a balcony and a closable perforated aluminum façade. The common units, the study, the living room and the garden are the common rooms facing the back of the plot. The ground floor of the building is the dining room, kitchen and common space for the residents. But it is also in some ways an extension of the public realm of the Chome, it is a multipurpose shop front for workshops, an occasional Izakaya (typical Japanese restaurant) or even a convenience store. The groundfloor is situated
one meter underground, giving the passerby the impression to penetrate the private sphere of the residence, creating a sense of “home”, but still giving the feeling of being in the street, surrounded by glazed facades.The transparency within the building is everywhere, there are no walls, only polycarbonate and glass partitions, the mesh curtains and the concrete central staircase are the only elements obstructing the view. I wanted the people living in there to have to cohabit, not only live in the same building. There are no private entrances and little space to actually isolate yourself. Besides, the store on the groundfloor is providing services offered by the inhabitants, wether it is homecooked meals, homework help, handyman work or just selling products depending on the skills or time each has on its hands. The place is also available for the local community of the neighborhood on demand for parties, meetings, presentations or more informal gatherings. SOCIAL INFILL This project aims at revisiting Yoshihau Tsukamoto’s idea of the commersidence. Sheahausu aims at being a new community link within an urban chaos, in opposition with an increasing individualism in the Japanese society. It would be a test project for further implementation
FACADE VIEW FACADE VIEW
0056 throughout the city as a new typology of housing seeking for a new appreciation of community, sociability and the cultivation of practical skills. A bottom-up incubator project like this in the heart of Omotesando could have great impact on the social life of the neighborhood. THE EXPANSION OF THE UCHI This building associates within itself the Japanese concept of “Uchi” (“inside”) and “Soto” (“outside”) associating the sense of the self and the rest, here, the public realm. Here, the house, Uchi is made for the individual as well as its close community, the neighborhood. The shop on the ground floor becomes an everyday commodity for the resident of the Chome and the passersby. The implementation of this project is seen here as a means to help the community regain a certain autonomy and give a new opportunity for the neighborhood to bloom. PROGRAM With the decreasing size of housing, many functions that traditionally took place inside the safe real of the home have been moved outside, this could be the place for those to happen. As the Izakaya is one of the preferred place for groups of friends to meet, this place would allow for people to feel as comfortable as they would in their own home. The use of the structure of a shophouse sets for an intimate stage and allows for inclusive activities. Perhaps those spaces can be the starting point for the Renaissance of a new kind of commerce, where small businesses, personal shopping,
one’s living environments, and the local neighborhood can intertwine. A NEW FAMILY UNIT Even though it is quite uncommon in Japan to live with non-family, it is only about time before new living unit types emerge with the emergence of housing for single working man/ woman and the abundance of individual homes. This project is the merging of different people representing the contemporary situation of cities like Tokyo, and its intrinsic social fragmentation. Nowadays, most of single person households are bought by women in their 30s/40s. At the same time, elderly people for most of them leave alone and students pay for overpriced tiny accommodations in the center, lacking real living qualities. Which is why I wanted an accommodation for 3 strangers representing the archetype of people living alone in Tokyo, A STUDENT, AN ELDERLY PERSON AND A SINGLE WOMAN. This building embodies the potential for such a unit to become a micro community, a supporting island within the greater system. Moreover, in some ways, everyone always needs something, and everyone has plenty to offer. With the flexibility of the programming of the ground floor of the building, this gives the opportunity to adapt to the population the building contains at a given time.
INTERIOR VIEW INTERIOR VIEW
Hana Worker, 34 In 2010, 50% of the households were single person households, and 70% of them were bought by women in their 30s/40s.
Keita Student, 21 Most of the students in Tokyo live in overpriced single rooms in the center, lacking living qualities.
“Tokyo was, as I remember it, a calm city that had a charm that came from an easy and routine based life. This was Tokyo where we used to pass our time chatting, seated on the entrance steps, encouraging neighbours to come in and share a glass of ice tea. Our Seinom (front door) was always open.” “Empowerment occurs when people regain the sense that their actions and opinions matter and that they have the power to influence things in society which they deem to be important.” “There are no apparent social interactions between tenants. Although the building structure is shared, nothing else is: there is no shared entrance, no hallway, no doorman, no meetings and no noise. There is a great sense of disconnect between individuals’ private worlds and the rest of the city’s inhabitants.”
Mitsuko Retiree, 70 In 2040, 1/3 of Japan’s population will be older than 65 years old.
BUILDING EXPLODED FACADE EXPLODED ROOMS
AXO AXO AXO
01 02 03
March 2017 The Living city Competition Chart Art Fair
This project consists in the development of a pavilion illustrating the need for informal, self-sustained green areas within cities. One of the issues of big parks in cities is that they require maintenance and care, this “urban station” would be an alternative to the implementation of parks in cities. Space in contemporary cities is becoming increasingly hard to find, the insertion of small “park-like” structure like this one throughout the urban fabric would be a good way to bring greenery in densely built area.
DROP OF GREEN is a structure that contains fog harvesting mesh columns, allowing for the plants to be watered in any climatic context. The meshes of those columns capture humidity and fog, accelerate the fall of the water droplets towards the ground thanks to their closely knit webs. Moreover, those stations are not only meant for urban farming or bringing more greenery to cities, it is also a new form of social space. In fact, the platforms of the structures allow for people to climb on it and isolate themselves from the outside environment, meet or simply relax. The idea with those elevated platforms was to invite people in those green houses, the transparency of the material chosen for the pavilion is to emphasize the feeling of immersion in the green space, you become surrounded by the growing plants. The curtain facades enable the users to isolate themselves more from the surrounding environment, whereas the see-through meshes impose the permeability of the stations. We would want to create iterations of those structures according to different contexts or different uses with the development of systems adapted to various materials (for instance, the structure could be either in bamboo/metal or wood) or functions (flower greenhouses, urban farming, etc.). Another idea with the creation of an open-source design is to design different sizes for those station, a down-sized version of this pavilion could become a bus-stop or simply urban furniture. EXTERIOR VIEW INTERIOR VIEW
RENDER 01 RENDER 02
A drop of Green Son Bui Paul-Antoine Lucas
February 2017 The way of the Buyi 120 Hours competition
All under one roof Ingrid Noual Paul-Antoine Lucas
Overlooking the valley stands this folded surface, directing the visitorâ€™s look towards the North to the rice fields. Through the central narrow entrance, the visitor gets a glimpse of the landscape surrounding the site. The steps around the entrance form an amphiteatre, facing the Schoolâ€™s playground, offering new opportunites for the children to meet and express themselves whereas it is through performances or simply during an intimate conversation at the top of the steps. Once the visitor steps inside, the complexity of the building reveals itself. The grand Wood columns support the folded pitched roofs, as an invitation to seat underneath it, to share a meal or take a book from underneath the benches. The roofs open up towards the exterior, on the NorthEast side giving a comfortable lighting and atmosphere all year round.
STRUCTURAL WALLS OF THE TWO MAIN PILES Prefabricated brick panels assembled with biased cut for more structural stability
STRUCTURAL SUPPORT COLUMN OF THE BRICK ROOF Columns places on concrete point foundations with metal footing
POLYCARBONATE FACADE ON WOOD FRAMES 100 linear meters of 2x4 30 linear meters of 2x8 70 sqm of polycarbonate boards
STAIRCASE AMPHITHEATRE ODF THE PUBLIC PERFORMANCE SPACE Prefabricated brick panels pre-assembled resting on the main piles
PITCHED ROOF PORTIONS Prefabricated brick panels pre asembled with brick beam reinforcement
LIBRARY BENCHES AND CANTEEN FURNITURE Brick podium (3000 bricks) structural plywood boards for benches and table (30 linear meters)
March 2016 Pavilion Competition Chart Art Fair
When you first learn about objects, you start learning shapes, simple geometry. Children learn to draw by tracing squares, circles, triangles and using all the bright and joyful colours they can find. That is what this project is all about. In some ways, this pavilion is transmitting this idea of simplicity in three dimensions, with a sphere, a cube and a pyramid. Naive, maybe? Ideal, probably. Playful, definitely! Each of those volumes in architecture often implies specific materialities, materialities that are the easiest way to be truthful to its geometry. Which is why the sphere becomes an inflatable balloon, the pyramid a simple plywood assembly and the cube a steel frame. But first and foremost, this pavilion is about basic geometric forms, merging together, colliding to become this lightweight structure. A simple geometry, the purity of primitive forms.
Basic Geometry Son Bui Paul-Antoine Lucas
SECTION GROUNDFLOOR PLAN ROOF PLAN
DRAWING DRAWING DRAWING
04 05 06
LIGHT AND EASY
Son BUI Delphine LEWANDOWSKI Paul-Antoine LUCAS
Climax Competition Maison de lâ€™Architecture The project is meant to be on Place Madeleine Braun, in Paris. The main intention if this project is to create a new public space typology, linking circulation and sustainable energies. The main axis of the project are formed by the main circulation axis of the square, the pedestrian accesses, facilitating the circulation between the main poles of the square : The Architecture Institute and Paris East train station. The project is an exploded pavilion made of re-used materials with a central focal point where the pedestrian flows create energy. The axis create the four parts of the pavilion, each corresponding to a theme for the sustainable city : GROW, EAT, LEARN, PLAY, EXERCISE, REST (production, consumption, leisure, sports, pleasure). Raising awareness is also an important element of the installation. Circular Economy is the last element, the use of available manufactured products like the scaffoldings or re-use old shutters for the cladding which means that no elements need to be manufactured for the construction. It provides also cost-efficiency.
RAISING AWARENESS Screen showing the daily consumptuion of electricity of Paris inhabitants.
eating well, bar with organic food from sustainable growing facilities
to cultivate pla and learn how grow
ants w to
floor equipped with Pavegen tiles producing energy as you walk on it
place to relax, can also host event concerning sustainable initiative
public space dedicated to allow for children to release their energy
public space dedicated to staying healthy
February 2016 A house without function 120 Hours
As a premise to our argument, we admit that Nature is infinite. Architecture [a House] is the creation of borders within this Nature, a human creation of something non-existing in Nature. Those bordered spaces respond to needs translating human desires (for protection, stability, safety, comfort, etc.). The characteristics of the limits employed for spaces give it its inherent qualities. The qualities of a space provoke a certain perception of it: a feeling. In that sense, creating a house is creating a feeling of a house. One can associate with a space a feeling of its own. The creation of â€œuniversal spacesâ€? would allow personal appropriation. What is then the feeling of a house? A house [Architecture] is the physical embodiment of human desires, a materialization of a personal idea of a house through architectural means. Thus, a house has no function but the function one gives it.
Ceci nâ€™est pas a house Clara TRIVINO MASSO Paul-Antoine LUCAS
May 2015 Scénographie Le Salon du livre à la Maison de l’Architecture
Son Bui Claire Forestier Marie Chevrier Solène Moscato Armelle Martin-Richon Paul-Antoine Lucas
July 2016 Le Bananier Pete the Monkey Music Festival
Sophie Costa SolĂ¨ne Moscato Delphine Lewandowski Paul-Antoine Lucas
Paul-Antoine Lucas Master student AHO Oslo School of Architecture and Design
AHO OSLO SCHOOL OF ARCHITECTURE ND DESIGN