P O R T F O L I O
C O V E R
L E T T E R
T H O M A S
R E S U M E
L E P O U T R E
Thomas Lepoutre 01/21/1993
Rue du Valentin 33 1004, Lausanne SUISSE firstname.lastname@example.org
T. +33 6 84 04 03 98 (fr) T. +1 (424) 341 95 - 58 (us)
Born in Aix-en-Provence, France, I was first introduced to Architecture by my grandmother, a teacher at the Beaux-Arts who taught me how to draw, paint and sculpt at a very young age. Quickly I grew fascinated with the capacity that Architecture has to be both practical and sensational. And long before I learnt about Le Corbusier or Frank Lloyd Wright, I knew I wanted to become an architect. After a scientific baccalaureat in France and six years studying Architecture in Switzerland, I finally have the opportunity to do what Iâ€™ve always loved. With all my heart I believe that Architecture can move people, and that every project should be seen as a beautiful puzzle waiting to be solved. My desire to learn has never been stronger and the only thing I need now is a chance to demonstrate the sincerity of my motivations.
S K I L L S
I N T E R E S T S
- Rendering on Vray / Artlantis
Adobe Suite - Photoshop / InDesign / Premiere English
Federal Institure of Technology of Lausanne,
/ Master degree in Architecture and Engineering - September 2015 to July 2017 - Member of ESN (Erasmus Student Network), student association in charge of welcoming foreign students and organize different activities for them
Federal Institure of Technology of Lausanne,
/ Bachelor degree in Architecture and Engineering - September 2011 to July 2014 Lacordaire Boarding School, Marseille, / September 2008 to July 2011 - Scientific Baccalaureate
- Major in Plastic Arts three years in a row - Graphic designer of the high school journal
Cunningham Design, Romont,
/ Construction Worker for a residential project - September 2016 to June 2017 - A 2200 sq ft residence. I realized every steps of the construction, from the fundations to the painting
Sbriglio Architects, Aix-en-Provence,
/ Architectural Intern - April to August 2015 - Concept, Revit drawings and Rhino 3d - 1 residential project, 1 exhibition, 1 urban project - Direct contact with the clients
Heusch Inc, Beverly Hills, Los Angeles, / Architectural Intern - August 2014 to April 2015 -
Concept, AutoCad drawings and Rhino 3d, construction plan 3 residential projects, 2 commercial building, 1 institutional Permit negociation with the city of Los Angeles Direct contact with the clients - Construction monitoring
Sundry Clothing, Venice Beach, Los Angeles, / Assistant Designer - June 2013 to August 2013
- Photography and video editing - Photoshop and InDesign for lookbooks
P U B L I C A T I O N S La Ville rêvée des jeunes architectes / Interview and article for the famous swiss journal “24hours” Picasso, un génie sans piédéstal , Marseille,
/ Exhibition at the MUCEM (Museum of European & Mediterranean Civilizations) On The Road, Toward a Post Car Leman City, SWITZERLAND / International Seminars (between September and December 2016), Exhibition of the projects at EPFL in 2018
V I G I E ’ s A U T F L
n r r o a
S Q U A R E
b a n a n s i t i o n r u s a n n e
M A S T E R Location Project Director Professor Assistant Exterior Critic
P R O J E C T
2 0 1 7 Lausanne, Switzerland Nicola Braghieri Georges Abou Jaoudé Sara Formery Nicolas Di Meo
4 and 2 as the potential public spaces of the two neighborhoods. Each with a very different atmosphere and culture.
The existing metro (m2) links Lausanne
Additionaly, a tramway will appear in
to the city of Renens and represents
2020, giving even more sense to an
one of, if not the most important
transportation axis of the city.
1 - Esplanade fu Flon / 2 - Place du Flon / 3 - Project Implantation / 4 - Place
An additional elevator helps the transition between the different levels of the project and the bridge.
The opacity of the facade melts with the matierality of the large pillars of the bridge. Also it creates an important contrast with the translucide facade on the inside.
The Chauderon bridge as it is now represents an important boundary to a neighbordhood that only asks to expand itself. (the hatched blocks are the projects under construction).
This other important bridge of Lausanne, le Grand-Pont, is a good example of a succesful urban transition.
At the junction of the two neighborhoods, this site is essential to the urban continuity that we are seeking. Naturally, thatâ€™s the chosen site for the intervention.
The project is interupted by the
But the transition isnâ€™t only built, it also
prolongation of the existing grid.
consists in taking a step back and rec-
Becoming an urban transition, an
reating a natural transition between two
active moment where the two neigh-
important vegetal area of the city.
I thought it would be meaningful to emphasize the centrality of the project through the contrast between the inside and the outside. An exterior facade that reflects the materiality of the bridge and the origine of the site, and an interior facade that promotes the openness of its public space.
An excavated monolith
Continuity of the ground treatment
Prolongation of the existing
Specific Interventions. (Market, Playground, Sculpture)
Access and transports
View on the lake from Montbenon
When the urban tissue starts taking back its rights on the industry, the railway wasteland becomes the opportunity to offer a new dynamic to the city of Lausanne. The Flon and its artificiality keeps on expanding till it meets a dead end with the Chauderon Bridge. Seeking this lost continuity, the project aims to articulate the upper part, the ‘quartier du Flon’, to the lower part, the ‘quartier de Sévelin’. The project would also enable a much more efficient connexion between the different transports, especially the new tramway, offering a new link between Renens and Lausanne. In parallel, the project proposes a programmatic change in an environment where the spatial and visual qualities only ask to be emphasized. The existing grid defines the project’s implantation, one of a monolithe in which the piles of the bridge anchored themselves. The square is like excavated inside the monolithe and serves as an important transition between the two neighborhoods.The existing streets extend and cleave the weight of the monolithe. The grid also defines a partial return to a natural topography, offering at the same time a soft transition between the two existing parks. The façades emphasize the centrality of the square, playing on the contrast between thick and light. Finally, the industrial background of the site is remembered through the use of the lattice.
View on the Jura and the
Currently occupied by the fire department. This shed can be transformed into an outside open market that would benefit both neighbordhoods.
Due to the vicinity and the location between the two main transports (tramway and metro), services and commercial spaces are implanted in the project (Chilcare, Gym, Restaurant, Bike rentals, Shops)
The school Eracom and its park will also benefit from the project.
Main Floor Plan
The surrounding buildings are mainly offices and shops, potential clients for our project.
The monolith opens itself on nature, offering a transition in both directions. A project for a future mediatheque also takes in high consideration the continuity of the vegetal areas.
S T U D E N T T O B R
h r r o
C E N T E R
e a n g e i c k a d
S T U D E N T
P R O J E C T
2 0 1 6
Project Director Elena Cogato Location Épalinges, Switzerland Erminia Mossi, Delphine Meylan, Mana Michlig, Philippe Herkommer, Cédric Gil, François Rougeron.
Signs of expression at the campus scale.
After the student association of EPFL (AgePoly) elaborates a programm for a brand new student center, the architecture students are asked to propose a few different solutions for the project. In order to do that, we had to understand the real meaning of being a student at EPFL. Through the filter of Internationality, we started our analysis. How do we, as student, express ourselves in a campus that reunites 15 000 people? The answer came pretty fast, and the result of our searches showed that, exept for a few panels, there is actually no space for individual or plurial expression inside the campus. Our first thought was to imagine a campus that would work like a real city, with advertising, people putting their laundry at the window, with different cultures melting with each other. Naturally, our first approach was to identify this signs of expression and transfer them inside the campus. Conscious that there are obvious reasons to differentiate cities and campus, we concentrated on the needs of expression that a student has. We examined the role and place of the numerous associations in EPFL, and quickly noticed that these associations were always in the residual spaces of the campus. Also we could see in the progamm proposed by AgePoly that there was a need to connect our campus with our University neighboors. After many propositions, we finally came up with the idea that the student center should be linear, a boulevard around which every association and individual could express their own way of doing. This boulevard, extending itself to the university of Lausanne, would create a building at the crossing of the two campus, offering a meeting point between two worlds and so many different cultures.
A City inside the Campus
Rem Koolhaas’s Captive Globe
EPFL’s non-captive globe
No expression of diversity.
The campus find its origin in a grid. For that reason the environment is very similar wether you are studying informatic or architecture. Recently some new buildings have grown inside the residual spaces of the campus. Libraries, conference center etc... Conceived by famous architects but that don’t communicate with the rest of the campus. (Exemple on the following page).
Red dots represents the identified sign of expression on the cityâ€™s scale. We can see that the campus doesnâ€™t reflect the diversity of its students.
Our ambition is to create a boulevard inside the campus. A boulevard around which students could express their ideas, cultures, and organize all kind of events. Also it would unify the EPFL and the UNIL (federal institure and University).
At the junction of the two campuses we decided to implant the main building.
A link between two world
The two campuses have two very different identities and the students rarely meet eventhough they are right next to each other.
So we offer them a place where the can organize all sorts of events.
Some interventions punctuates this boulevard of â€˜reborn expressionâ€™. Ou student center is not a circular center but a linear center that distributes all kind of programs, like a theater, a gym, a conference room.
A distributing Boulevard
This boulevard is the main axis but we also develop different vegetal axis perpendicular to it that links the campus to the lake.
During our studies we also noticed that the campus, eventhough it’s the size of a small city, didn’t really communicate with its direct vicinity.
A Showcase on the outside
The main building of our ‘student center’ seeks the outside world. A giant candilevered form, almost dramatic, invites the strangers to enter inside the campus and becomes the showcase of its institution.
Something that we insisted on is the use of vegetation. Indeed, EPFL has a reputation to produce incredible buildings, realized by reknowned architects such as Sanaa, Kengo Kuma etc... But one thing the campus is lacking is its contact with nature. So along our boulevard we recreate vegetal areas and we remove the imposing huge lattice roof. Green is back in the campus
S A B B O T
K i g u i l d i n g n h e E a s t
S T U D E N T Project Director Location Collaboration with
R i v e r
P R O J E C T
2 0 1 5 InĂ¨s LamuniĂ¨re Williamsburg, United States Philippe Steiner
The main volume is dedicated to the transportation, assuring a transition between the bridge and the street level, but also the transition between one side of the east river to the other and along the river. This station then distributes the rest of the project.
1st Floor Plan
Implantation Plan 2nd Floor Plan
This project, elaborated during my Master in Architecture at EPFL is part of a much wider urban transformation. Indeed, the research laboratory in architecture and urban mobility (LAMU) proposed a new way of circulating for the city of New York, using gondolas, in order to relieve an already very dense and saturated trafic. So this project is just a step of a much bigger network, but its location, right underneath the Williamsburgh Bridge, and facing Manhattan, gave us the opportunity to offer much more than a simple gondolaâ€™s station. With this project we aimed to offer a real attracting pole for this expanding neighborhood. The implantation is generated by the context and our will to extend the public space of the street inside the project. At the same time we gave a lot of importance to preservating the view on the east river, reason why the two main volumes of the project are elevated. The building itself is huge, 40 000sq meters and an important variety of programms, from the theatre to the gondolas or the â€?urban fabricâ€?, an open space available for the craftsman that made the reputation of the neighbordhood. The materiality is also influenced by the context, borrowing the industrial language of the pile and the lattice to the bridge.
Section through the theatre
The metalic structure of the two main volumes holds the slabs in traction. The materiality acts as a reminder of the industrial origins of the site. It is then covered by some kind of metalic fishnet that plays with its proximity to the water.
A serie of slabs adapted to host the different programs.
Large pillars, containing the vertical circulation , distributing every parts of the project. Their volumetry aim to symbolize a building that is strongly anchored in Willimasburg.
Section through the theatre
A G e n i u s W i t h o u t P e d e s t a l
S C E N O G R A P H I C Project Director Location Collaboration with
P R O J E C T Jacques Sbriglio Marseille, France Natasha Sbriglio Marie Poinsot
For this first scenographic experience, we took part in a competition for an important exhbition about Picasso and how his life influenced his work. We won this competiton and I had the chance to be part of every step of this project. It was the perfect introduction to understand the numerous requirements for an exhibition and the public space of the museum. This Project was divided in 4 main categories, each representating a phase of Picassoâ€™s life. Our first intuition was to translate the influences that Picasso received into architecture, his passion for toreador into an arena and so on... Incidentally, this project also made me learn a lot about Picassoâ€™s work for I had to make the inventory of every painting and sculpture that will later be shown.
Exhibition Website: http://www.mucem.org/programme/exposition-et-temps-forts/picasso-un-genie-sans-piedestal
T a c v o A
o w a r d
o n s u m e r i s t i s i o n f r c h i t e c t u r e
T H E S I S Thesis Director Professor Assistant Exterior Critic
2 0 1 7 Nicola Braghieri Georges Abou JaoudĂŠ Sara Formery Nicolas Di Meo
A visual culture
“Learning from the existing landscape is a way of being revolutionary for an architect. Not the obvious way, which is to tear down Paris and begin again, as Le Corbusier suggested in the 1920s, but another way is more tolerent; that is to question how we look at things.” The pretention isn’t comparable obviously, but learning from the existing landscape is precisely what I aimed to do with this thesis. Not through the built landscape that our cities offer, but through the observations of a secondary landscape, one that reflects the time in which we live, a “mediatic landscape” that plays a similar, if not stronger influence on our society.This thesis starts with the observation that we live in a consumer society in which images take an ever increasing importance. We will first try to understand the contemporary manifestations of this visual culture and the problematic that it raises. We will then focus on a particularly revealing category of images, for the pictures we‘re shown in advertising are the ones that openly try to be the most influent. This exterior look will help us understand how architecture is represented through advertising, but most importantly how advertising influences the way our society looks at architecture in general. (...) Images are proper to mankind. Throughout history images always helped us understand abstract notions, simplifying our relations to the world by expliciting abstract concepts in order to understand them immediatly. Without going back on the entire historic of representations, it’s important to remind ourselves that the first images, purely figuratives, existed long before the anatomically modern men (homo sapiens). According to the Art Historian Ernst Gombrich, we live nowadays in a world where images have replaced both voice and writing. Which most people call the imagery culture. Indeed, we can only admit that we live now in a world where most of the communication is done through images. So much that our relation to the world itself becomes an accumulation of various images. “We live in the image century. For good or evil, we are now more than ever subject to the influence or images.” (...) Images might be proper to mankind, it’s nonetheless always on the dock, for if it has the power to represent reality, it also has the power to deform it for those who wishes. Philosophy always warned us, and when Plato, in the allegory of the Cave, describes chained men condemned to believe that the lights they see on the walls are real, it’s hard not to think about our own situation. (...) It is not easy to stay neutral in front of an image, this one directly stimulating our individual perception and sensibility, leaving so many possible interpretations. Most of the images produced today are manipulated by men, and if they always helped us represent our dreams, they’re now the mistresses of the ones trying to sell us something. It’d be interesting to stop for a minute and ask ourselves, have we slowly turned into these men Plato once described?
S e l e c t e d R e s i d e n t i a l P r o j e c t s
As a part of my internships, or even for private clients, Iâ€™ve been working on several residential projects in different parts of the world. During my two years of master in Architecture I also had the opportunity to work halftime as a construction worker in Switzerland in order to finance my studies, the experience happened to be very diverse and enriching.
After my second internship in Los Angeles, I kept on working with Heusch Inc. The Cisse residence is the result of a project that should have been built originally on the Hills above Hollywood Boulevard. In the end the client decided to build this project in Senegal as a vacation home. The plan is the result of a volumetric research between 3 differenciated blocks. The two wooden upper blocks contain the rooms while the concrete lower part contains the living areas.
C R E D I T
G E R H A R D
H E U S C H
At the end of my Bachelor in architecture, my parents put me in charge of a project they had in mind for quite some time. Right next to the family house, a 17th century provincial mas, the idea was to build a practical and comtemporary house. This project was my first real confrontation with the requirements that an architect needs to fulfill. Due to an imposing context, the first ambition of this project was to offer the perfect balance between tradition and modernity. This duality principally finds its answer in the choice of the materials, the provincial limestone and the concrete, itself treated in a way that reflects a certain idea of mass. This project was submitted to the city this year and should be achieved by the end of the year 2018.
This is the first project I had the opportunity to work on when I first went to Los Angeles. Located on the hills of Beverly Hills, the site offers an amazing panorama. Logically, the strentgh of the project is based on the way it can frame the different views. The volumetry of the building itself is defined by two principle and very contrasted directions, Downtown LA and the Ocean. The project becomes a space of transition between natural and built elements, and plays a lot on the relations between exterior and interior.
C R E D I T
G E R H A R D
H E U S C H
D R C S H
a n d o m a s e t u d y o u s e s
As much as I understand the need of computers, I believe that every good project should start with a good sketch. Ever since I was a kid, Iâ€™ve always loved drawing. I started by drawing tiny reconstitutions of middle-age battle scenes, with knights, wizards and castles. Quickly, I realized I was mainly interested in the architecture of these castles and very soon I stopped drawing the knights and focused on the architecture details. Today I keep on drawing the houses I dreamt about, for work or pleasure, sometimes as a representation support, and always as an efficient creative tool.
L E B O W S K I â€™ s
S H A C K
H A N G I N G
T H E R E
G A R D E N E R â€™ s
D R E A M
L E B L A N
R E S I D E N C E
S C I S S O R
H O U S E
F R A N K
J U N I O R
Architecture Portfolio - 2017