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Portfolio Zelie Denis


Ms Zélie DENIS born on 12th October 1990 (Paris XIV) Nationality: French 33 rue de la Chrétienté 92330 Sceaux (France) FR: +33 6 67 47 89 82 / BR: +5521987854340 zelie.denis@gmail.com

Scholarship: February 2014: Graduated with high honors at the School of Architecture of Versailles (ENSAV) Project directed by Mr. François Chochon: The rebuilding of the Generastaff of Y ougoslavia in Belgrade, Serbia.

2012 - 2014: Master 2 at the School of Architecture of Versailles (ENSAV) Project directed by Mr Djamel Klouche and Mr Cédric Libert in Brazil Master thesis about the patrimony and the memory management during the rebuilding of Beirut, directed by Pr Vincent Jacques

2011 - 2012: Master 1 at the Faculdade de Arquitectura do Porto (FAUP), Porto, Portugal 2008 - 2011: Bachelor deegree at the School of Architecture of Versailles (ENSAV) 2005 - 2008: One month exchange every year at the High School Johann-Vanotty-Gymnasium in Ehingen, Germany 2001 - 2008: High School Marie Curie, Sceaux, France

Ot h e r s : June to August 2013: Waitress at Le beaurepaire, Paris. 2011: Organisation of a student event, 700 people Artists and global organisation managing

2010 - : Trumpet Player, Jacky Parmentier Brass Band 2010 - 2012: Communication responsible, association «La Grande Mousse» Extern relations, advertising

2003 - 2006 : Umpire for an international tennis tournament of disabled players, «BNP Paris Bas Open de France» at the Sceaux park, France Hobbies: Travels, langages, surf, ski, theater, photography, art history, movies

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P ro f e s sio n a l ex p e r i e nc e s : February- June 2013 : Workshop in colaboration with the UFRJ in Rio de Janeiro, Brazil, directed Mr Djamel Klouche, Mr Guillerme Lassace and Mr Cédric Libert Studies on «Barra de Tijuca» district and the «New Citites»

September 2012 - February 2013: Internship at Colboc Franzen et Associés, Paris, France Public competition, prelimary design, buisness consultation, recepetion of a project...

July 2010: Internship at Hamonic + Masson architecture, Paris, France 1/200 model and studies of the construction of a building of 65 flats in Bercy, Paris; 3Dmodel for a competition

August 2009: International construction site in Güstrow, Germany. (open houses) Restoration of the frontage of a presbytery

S k i l ls : Langages: French (mother tongue) German (fluent) English (fluent) Portuguese (fluent)

Software: AutoCAD, ArchiCAD Rhinoceros 3D, V-Ray Adobe Suite Word, Excel

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Belgrade, Generalstab,

Individual project, February 2014, M. François Chochon

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La rebuilding of beirut

Master Theses, February 2014, Pr. Vincent Jacques

Barra de Tijuca, New Cities, Paris Parallèle

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With Carole Daussin, June 2013, M. Djamel Klouche and M. Cédric Libert

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Montmorency, Competition From September 2012 to February 2013, Colboc, Franzen et Associés, 10 rue Bisson, Paris XX°

Academia de dança

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Individual project in Porto, Portugal, 2011/ 2012, M. Carlos Prata

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Living together

Individual project, June 2011, M. François Chochon

ADL dwelling Tubes

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with Bénédicte Arnoux and Juliette Lauzeral, March 2011, M. Jean-Christophe Quinton

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The others

with Carole Daussin, December 2011, M. Franck Vialet

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Graduation project

2014

MASTER THESES

2014

MASTER 2

2013

MASTER INTERNSHIP

2013

MASTER 1

2012

BACHELOR 3

2012

BACHELOR 3

2011

BACHELOR 3

2014


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COMPLEX

Belgrade, Generalstab, between romantisum and wish for future Graduated with high honors February 2014, Franรงois Chochon

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Belgrade, Generalstab

The Generalstab, the Yugoslavian military headquarters, was originally built for Tito by Nikole Dobrovic. It was meant to symbolize the Yugoslavian unity, and its armed forces, illustrating Dobrovic  moving spaces  theory with the two buildings united in cascade. The individuality of each building unites to create the public space in the V of the cascade. In 1999, in order to end the Kosovo war, the NATO bombarded Serbian strategic positions of Milosevic’s government. The Generalstab was

consequently destroyed. It became the symbol of the Yugoslavian fragmentation. Since then, the building has not been re-built. Claiming economic reasons, the government has not taken the decision to fund the reconstruction. In 2005, the monument became a listed building, but its future is still frozen.

are assimilated. It is therefore important to ask the right questions before the reconstruction. How to insure that memories are present without imposing them? Facing the complicated past that made up Serbia and the ex-Yugoslavia, I confronter my architect eye to a thorough analysis of the post-trauma reconstructions across the world. The ruins in Belgrade center left me with three main feelings that guided my thinking. First of all, my fascination for these ruins. It is

After analyzing post war reconstructions in Belgrade and in Serbia, I came to realize that there is still a long way before the memory and scars from, the past

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Belgrade, Generalstab

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Toiture Toiture Toiture

R+7 R+7 R+7

Forteresse Forteresse de de Belgrade Forteresse deBelgrade Belgrade Kalemegdan Kalemegdan Kalemegdan

R+6 R+6 R+6

Basilique Basilique Sainte Sophie Basilique SainteSainte SophieSophie Istanbul Istanbul Istanbul

R+5 R+5 R+5

Parlement Parlement Serbe Parlement SerbeSerbe Belgrade Belgrade Belgrade

R+4 R+4 R+4

Karlkirsche Karlkirsche Karlkirsche Vienne Vienne Vienne

R+3 R+3 R+3

Cathédrale Cathédrale Saint Saint Sava Cathédrale SaintSava Sava Belgrade Belgrade Belgrade

R+2 R+2 R+2

Maison Maison du du patrimoine Maison dupatrimoine patrimoine Kalemegdan Kalemegdan Kalemegdan

R+1 R+1 R+1

Forteresse Forteresse de de Ram Forteresse deRam Ram Ram Ram Ram

RDC RDC RDC

Pont Pont lalaDrina sur la Drina Pontsur sur Drina Visegrad Visegrad Visegrad

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Belgrade, Generalstab

massive, unavoidable and is slowly claiming back its status within the city. Secondly, I was drawn to the relation between the original condition of the building and what the bombs tell us about the end of a flourishing economy, the embargo, the decline of the Serbian population. My last feeling is about the present, and how the people and the ruin meet daily. For my French self, the Generalstab is unique, but the people of Belgrade see it every day, and it is becoming forgotten. These tree feelings define tree axes for the project. The first is the conversion of the ruin. For 15 years on the Belgrade’s soil, it is becoming its identity. But as I deeply believe in the scars of the past, I believe in the power of the future as well. The solution I found is to build symmetry, responding to the ruin. The new form of the cascade should represent the nowadays Serbia, trying to be stronger than its ruin. The second axis is a support to build a more flourishing future. In order to exist, Serbia needs a prosper economy. With the aim to respond to this necessity, the project has to be dynamic and energetic. A rational regular framework surrounds the project. The last axis is to draw a possible future for a renewed Serbian unity. The unity will be different; nowadays solutions are not those of yesterday. Belgrade, capital of Serbia, represents the whole nation. To embody this entity, I choose to draw a list of all the construction symbolizing the Serbian identity.

Each of them is linked with History, and can be found in the layers of building and rebuilding in Belgrade. More than any other, we find in the Belgrade’s soil the idea of the palimpsest city. The vestiges left by History and Architecture are the base of my project. Nevertheless, the buildings’ list was way too long. Then, I choose several frames which I was interested in, because of their symbolic aspect or their cosmetic feature. In the palimpsest everything is connected and revealed. In the memory everything is mixed up. Accumulation is made of the necessity to build. The project is thus a game with the shape of History, which aims at creating new form. The structure is composed of veils binding the interconnection points of each form with the monotonic structure. The three axes of the project are connected through several elements. In one hand, the regular and monotonic framework is linked to the patio by a corridor. This corridor is distorted in several nodes either by the stairs unifying the monotonic frameworks or by the incursion of the patio. The cascade, node concentrating the three elements, is a monumental stair looking out onto the ruin in the street side and onto the patio in the other side. The patio draws labyrinthine spaces. The last component is the ground floor. It is the sole link between the city and the structure’s inside. I believe that the building will live over time. Today, Serbia needs to rebuild herself. There is no doubt

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that the project should attract foreign investments. The structure aims at welcoming enterprise and banks. Later, one day maybe, the ruin will be reinvested in the general interest and a new building could be erected and become a memorial or a museum of the History of Yugoslavia. But some day, the building will be landscape, while history, memory and life will continue leaving a new historic layer allowing a more personal appropriation of the structure.


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Belgrade, Generalstab

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Belgrade, Generalstab

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MASTER THESE

The rebuilding of beirut, a societal problem Master Theses February 2014, Pr. Vincent Jacques

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The rebuilding of Beirut, a societal problem

Préface En 2002, lors d’un voyage en Croatie, j’ai séjourné brièvement à Sarajevo. J’avais douze ans et je me souviens qu’à travers les fenêtres de la voiture, je voyais défiler de grandes tours. Les unes étaient criblées de balles, les autres n’avaient plus que leurs structures. Je n’arrivais pas à discerner celles qui avaient été détruites pendant la guerre de celles qui étaient en cours de reconstruction. Je crois maintenant que différents images se confondaient dans mon esprit : les constructions inachevées au début de la guerre, les reconstructions en cours et les bâtiments détruits pendant les combats. Dans mon souvenir, aucune grue à l’horizon. En dehors du centre, la ville ne semblait pas encore reconstruite. En août 2012, lors d’un second séjour, j’ai eu la même impression. Je suis arrivée dans la ville par la montagne et les premières maisons blanches qui apparaissaient étaient encore criblées de balles comme au lendemain des affrontements. Les façades avaient autant de cicatrices qu’il y a dix ans. En 2004, j’ai visité le Liban. Dès l’entrée dans Beyrouth, les images de Sarajevo sont réapparues devant moi. D’abord le chaos, puis de nombreux bâtiments mutilés. Je me souviens cette fois des nombreuses grues dans le ciel de la ville : un Beyrouth flambant neuf côtoyait un Beyrouth encore en lambeaux. En 2008, au concours d’entrée à l’école d’architecture de Versailles, on me demanda pourquoi je souhaitais devenir architecte. Je me suis alors souvenue de ces deux villes où constructions et destructions se mélangeaient, comme autant de signes d’espoir et de désespoir. Au moment de trouver mon sujet de mémoire, après quelques hésitations, il m’a paru évident de terminer mon cursus par les questionnements qui en étaient à l’origine. Comment la ville peut-elle porter les marques des passions humaines, aussi bien créatrices que destructrices ? Je suis née en France en temps de paix et je n’appartiens à aucune communauté religieuse. Je n’ai connu la guerre que par les récits de mes grands-parents qui eux-mêmes étaient enfants pendant l’occupation allemande. Plus tard, ils

n’ont pas été impliqués personnellement dans les conflits en Algérie. Hormis les informations à la télévision, mon premier contact direct avec la réalité de la guerre fut ces deux voyages à Sarajevo et à Beyrouth. Ces expériences ont alimenté ma réflexion quant aux traumatismes et aux traces laissées par les conflits armés. Je ne suis pas retournée au Liban. Suite à l’assassinat de Rafic Hariri, en 2006 le pays entra de nouveau en guerre et Beyrouth se retrouva au cœur du conflit. En 2013, il me sembla risqué de retourner dans une ville plongée dans l’insécurité du fait de la guerre dans la Syrie voisine. On comprendra que cela constitue une lacune pour ce mémoire. Cependant mon ambition est d’étudier les traces de l’histoire sur l’évolution de la ville et des bâtiments qui la constituent. Qui détruit et pour quelles raisons ; qui reconstruit et dans quels buts ? Mes études d’architecture m’ont donné des éléments pour tenter de comprendre le processus de reconstruction de la ville. Je me suis rendu compte qu’il était complexe et dépendait de nombreux facteurs historiques et actuels.

« Mais la ville ne dit pas son passé, elle le possède pareil aux lignes de la main, inscrit au coin des rues, dans les grilles des fenêtres, sur les rampes des escaliers, les paratonnerres, les hampes des drapeaux, sur tout segment marqué à son tour de griffes, dentelures, entailles, virgules.»

Italo Calvino, les villes invisibles, trad. de l’italien par Jean Thibaudeau, coll. folio, ed. Gallimard, 2002, page 18

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URBANISUM

Barra de Tijuca, New Cities, Paris Parallèle With Carole Daussin, June 2013, Djamel Klouche and Cédric Libert

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Barra de Tijuca, New Cities, Paris Parallèle

«Paris Parallèle» is a study of the periodical: «Architecture d’Aujourd’hui» during the 60’s. In order to stop the urban congestion of the historical capital, the committee of the magazine designed a new Paris 30 km far away. After this study, we wanted to design our own city with irony. We used three different ideas : Oma’s Melun Senard, the Grid plan and Saemangeum Island City from Philip Christou and Florian Beigel. In Rio de Janeiro, we have been working on a workshop wit students from the UFRJ-FAU. The subject was

Barra de Tijuca, the New city and the plan of Lucio Costa for Barra. In order to reavaluate the territory of this part of Rio de Janeiro, we have been using the concept of Oma’s Melun-Sénart and the stripes of void.

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INTERNSHIP

Master internship, Montmorency, Competition From September 2012 to February 2013 Colboc, Franzen et Associés, 10 rue Bisson, Paris XX°

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Master internship, Montmorency, Competition

My five months internship at the «Colboc, Franzen et Associés» agency in Paris was the opportunity to work on every steps of different projects, from the competition to the construction. Using AutoCAD, I drew different construction details, prepared and created documents in order to fulfill a building permit, made a checklist of a construction site, noticed some details for a business consultation… Using ArchiCAD, I prepared two 3D models for a competition and a building permit. Using Photoshop, I produced structure-plans,

sections, viewpoints… I also used In Desing for different presentations (portfolio, publications...)

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COMPLEX

Academia de danรงa

Individual project in Porto, Portugal 2011/ 2012 Carlos Prata

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Academia de Danรงa

The landscape of the industrial Harbor of Matosinhos in the North of Porto in Portugal is made of containers and cranes. In order to bring free space and peace to the intense activities of the harbor, first the academy of dance would be integrated to the environment of little houses thanks to its small scale. Then it would offer a green contrast with the harbor, by creating a huge park around the building and on the roofs.

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Academia de Danรงa

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HOUSING

Living together

Individual project June 2011, Franรงois Chochon

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Living Together

Sarcelle, landscapes with no color. How collectivism can be brought into an environment of little individual houses? A closed building which offers its quality in his heart. Staircases are not dark anymore and the main purpose of the project is tackled. They have been tuned into public places, where the inhabitants can meet and socialize, helping people living together. While running into your neighbor, the transition between public and private areas is made soft and generous. The relation to the street is visually open but physically

closed.

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Living Together

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HOUSING

ADL dwelling Tubes

with Bénédicte Arnoux and Juliette Lauzeral March 2011, Jean-Christophe Quinton

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ADL dwelling Tubes

Three different architecture scales were designed from a common object: a chair. The Meltdown PP Tube Chair designed by Tom Price was chosen as an inspiring influence in order to create one individual house with a swimmingpool, one piece of collective housing including a restaurant, and one tower including an auditorium. In the house, the shapes of spaces are directing the tube in order to organize the inside. The collective housing is planned strictly and simply from the outside, whereas from the inside, the restaurant is

located into an epicenter created by an accumulation of tubes coming from the surrounding apartments. Concerning the tower, the structure is built by tubes crossing each other’s, designing the shape of the auditorium.

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COMPLEX

The others

with Carole Daussin December 2011, Franck Vialet

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The Others

“Porte de Bagnolet� is one of the most exciting road cross in Paris. What can be implemented to upgrade this environment with no specific identity to make it special? The project offers a swimming-pool complex and a music hall. It has been chosen to convert it with a mirror game between the flow of people inside the building and the heavy flow of cars outside. Also, the complex has been designed as a crossing point between music lovers and water players, where people from both side can see one another, with no physical contact. The goal

is to question the visitor about what surrounds him, and who is getting around during his journey to the heart of the building.

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The Others

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2014

Zelie Denis_Portfolio 2014_ English  
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