arquitectos

brijuni

virginie GRANGER

premiere pratique madrid1/06/09 3/07/09

ENSAG

RPOTD SAE APR E TG

Fiche techniqueOrganisme accueillant le stage Estudio Brijuni Atquitectos Responsable pdagogique Anne-Monique Bardagot Suivi du stage Francisco Casas Cobo Priode de stage Du 1 juin 2009 au 3 juillet 2009

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resum p.4

smar omiece que jai faitP. 18

organisme daccueil p.5

Montages de vidos dentrevues darchitecte p.6 Bjarke Ingels p.7 Julien de Smedt p.8 Mansilla+Tunon p.9 Concours EUROPAN 10 p.10 etape 1 p.11 etape 2 p.12 etape 3 p.13 etape 4 p.14 etape 5 p.15 etape 6 p.16

mon point de vue p.17

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resumje viens deffectuer ma troisime anne a madrid dans le cadre du programme erasmus. Jai donc dcid de faire mon stage de premire pratique sur place car je pensais que ctait une bonne opportunit de se confronter la ralit du travail darchitecte dans cette ville o je venais dtudier pendant un an. Suite un premier contact par mail, je me suis rendue lagence pour rencontrer les architectes et prsenter mon travail. Nous avons ainsi convenu du contenu et de la dure de mon stage. Jai donc ralis, durant ces 5 semaines, le montage et la selection de squences dinterviews darchitectes: bjarke ingels, julien de smedt et Tunon&Mansilla. Ces vidos seront publies prochainement sur studiobanana.tv. Jai aussi particip la conception du projet pour le concours europan 10. Il sagissait de concevoir un eco quartier dans la banlieue dHelsinki en Finlande. Jai eu en charge le dveloppement des logements a dimension ecologique. Toute cette recherche concrtise par la ralisation dun des trois panneaux de rendu du concours.

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_Organisme daccueil_

Cette agence Madrilne se focalise principalement sur les logements collectifs, les nouvelles faon dhabiter, de penser la ville. Jusqu aujourdhui, il ont construits des maisons mitoyennes et ont en projet desl logements collectifs. Ils travaillent aussi pour une entreprise dvaluation immobilire. Et les architectes principaux ont cette intention militante et sont trs attachs communiquer, partager leurs opinions par la publication dans des revues, des articles sur un blog.

francisco casas architecte principal beatriz villanueva architecte principale, femme de Francisco

Lina, prsente 4 mois dans lagence. On a travaill ensemble sur le concours, avec Nacho, un autre espagnol.

juan carlos architecte technique

organisme daccueil

Il y A 4 architectes fixes et beaucoup de gens gravitent, viennent travailler sur un ou plusieurs projets, durant des priodes plus ou moins longue beatriz architecte

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_Montage de vidos_

ce que jai fait

Jai pu me confronter dans un premier temps la parole, au discours darchitectes fondateurs dagences renommes comme Julien De Smedt(JDS), Bjarke Ingels(BIG) ou encore Tunon et Mansilla. Il a fallu en effet que je monte des entrevues, en tentant de slectionner le plus intressant de leur discours. Ce fut un exercice extrmement difficile et stimulant car il ma fallu capter lessentiel de leur pense, les points forts, les projets emblmatiques; les synthtiser pour quen quelques minutes, on puisse communiquer ce qui fait lintrt de leur travail. Ce fut trs enrichissant pour moi: Dune part, jai dcouverts des architectes dont je ne connaissais que certains projets; et le fait de les voir discuter, expliquer et dfendre leur points de vues, ma permis de mieux les cerner en tant que personne, architectes passionns par leur travail et avides de partager cette passion. Dans un second temps, il ma fallu prendre du recul face leur discours, leurs rponses, pour en extraire ce que je pensais le plus intressant, lessentiel.

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Entrevue de Bjarke ingelsIl est le fondateur de lagence BIG, qui compte aujourdhui 85 collaborateurs. Jai Choisi dextraire 4 vidos de cette entrevue dune heure.

Vido 1_leur approche, une utopie pragmatique B.I. parle du mode de fonctionnement de lagence, leur faon daborder les projets. Cela permet de cerner plus clairement leur vision, leurs influences. Vido 2_Lego towers Il explique ce projet de tour lgo avec des rfrences historiques lvolution du logement collectif en tour, en faisant des parallles avec lurbanisation de Barcelone et dautres villes. Vido 3_Tour a Shangai, un objet trouv Prsentation du projet avec la maquette et explication de la forme de la tour, la mme que lidogramme reprsentant le peuple. Vido 4_Maisons sur la montagne Bjarke montre un projet ralis de logements conus sur une base de parkings crant comme une montagne. Ce projet a t ralis en collaboration avec JDS: BIG+JDS=PLOT

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entrevue avec Julien De SmedtArchitecte belge lorigine de lagence JDS qui compte un bureau Coppenhague, un Bruxelles et un Olso.

Vido 1_concept danish architect Julien prsente son agence, en terme de nationalit et xplique quon ne peut plus concidrer son agence comme oriente danish architecture. vido 2_OMA et eux Linfluence dans son travail daujourdhui, de son passage par OMA. Comparaison entre leur approche et la sienne. vido 3_tour a Shenzhen Le concept de cette tour parois filtrantes. Il nous montre un tronon de la tour en maquette qui pourrait lui-mme etre un difice. vido 4_ si je le fais pas quelquun fera pire Discussion sur le dveloppement des villes au moyen orient et en Chine. Ce dveloppement qui cre de lexcs puisque lon construit sans relle ncessit. On overbuild.

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Entrevue avec Emilio tunon et Luis mansillaIl sagit de mes professeurs de projet de cette anne. Et comme lentrevue tait plus conventionnelle(sans mouvements, dplacements) jai pu fragmenter beaucoup plus facilement cette vido et crer une squence pour chaque rponse. Squence 1: le musac Ce projet est le point dorgue dune poque et le dbut dune autre. Squence 2: leur travail, centr sur les concours Trs peu de maisons et de logements et beaucoup despaces publics, culturels. Ils citent:a la fin de ses tudes, fais attention ce que tu fais car tu risques de le faire toute a vie... Squence 3: prpars entrer dans le monde du logement Ils sentent aujourdhui quils pourraient apporter quelques choses aux logements sociau, aux maisons Squence 4: un espace tampon, de lien, de relation entre muse, cit, rue Un espace culturel cacers Squence 5: garder lessenciel dun projet Leur vision du mtier darchitecte, de la passion quils mettent tout au long du projet Squence 6: campus de Soria mthonimies et pas mtaphores Nous expliquent leur projet et leur vision, leur faon de penser durant ce projet Squence 7: le muse de la voiture la rutilisation, de voitures compresses pour crer une faade. Squence 8: lattendu et linattendu les espaces surgissant dune recherche, non prvus initialement Squence 9: trois avec un Comment certains disent que lon peut concevoir 3 projet avec un seul...

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_Concours EUROPAN 10_

Aprs La premire semaine passe sur les vidos, nous avons pass 3 semaines faire le concours EUROPAN. Jai donc pu suivre tout le dveloppement du concours jusqu son rendu. Nous tions 3 travailler sur ce concours(un jeune diplm espagnol et une jeune paysagiste slovne), superviss par les 2 architectes principaux de lagence. Dans un premier temps, nous avons analys le site, prs dHelsinki, les possibilits dusage des nergies renouvelables dans cette rgion, les besoins des habitants... Cette premire phase ma beaucoup appris sur le dveloppement des co-quartiers dans le nord de lEurope, jai pu trouver les alternatives qui pourraient tre utiles pour le projet. On a ensuite rparti les taches et jai t en charge du dveloppement des logements. Nous avions pour base des logements dvelopps antrieurement par lagence quil a fallu que jadapte aux besoins des populations cibles. Et par la suite, jai dvelopp une srie de groupements de ces units. En parallle, les autres dveloppaient le plan durbanisation et lorganisation du quartier. Chaque jour, nous discutions trois des avances, des questionnements, des rflexions de chacun et deux trois fois par semaine, nous prsentions lavancement des recherches aux deux architectes qui mettaient des avis sur la marche suivre, les choix faire, la direction donner au projet.

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ETAPE 1

_Analyse du site, recherches sur les formes dhabitat, les quartiers bioclimatiques, ecologiques en finlande et dans le nord de Leurope_Grace ces recherches jai dcouvert diffrents quartiers trs intressants, comme celui de Bo01 en Sude et Wiikki Helsinki, et approfondis mes connaissances sur Vauban et Bedzed. Aprs avoir trouv les informations il ma fallu valuer les qualits et les dfauts de ces installations pour faire les meilleurs choix possibles. Jai aussi tudi comment vivaient les Finlandais, quel tait le niveau doccupation des logements, la taille des foyers moyens pour ensuite dfinir les besoins de ce quartier et ainsi affiner le cahier des charges.

Bioclimatic and ecologic aspectsScale of neighbourhood Scale of dwelling

rtance of eless, as many .

s and blocks.

+Concept of the dwelling types

ollection on heating,

+*

+

+

+

ign 5 different

* different types of usage in the adaptable space

10x5

+

+

+

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Dwelling types

Urban block of 12 dwellings6 dwellings of 100m 8 dwellings of 50m Young couple Elder people

Proposition of interior architecture wtch can be adapted to the needs of the residents.

Family with children

Shared housing, roomates

Family of musicians first floor

Young couple second floor Family with children

Shared housing, roomates

ETAPE 2

Family of musicians

Scale: 1/200

first floor

Shared housing, roomates

second floor

ENPFamily with children

Jai utilis le mme systme intgr une unit plus grande. Legend floor Aprs avoir tudi les besoins, jai dvelopp diffrents firsttypes de logements pour private garden shared garden Family of musicians diffrents usages. Notre ide tait davoirScale: 1/200 units de base de logements auxquelles ont ajouterait des pathway wooden pathway un espace aspects Bioclimatic and ecologicpersonnalisable.Family with children

LIQUID _Adaptation de logements dvelopps pour un autre concours_

PATCHWORKground floor

are of the importance of d by it. Nevertheless, as many by this new settle.

Scale of neighbourhood

olated dwellings and blocks.

houses, solar collection on with underfloor heating, as a grid to design 5 different

Le fait davoir une premire base ma beaucoup aid dvelopper ces logements. first floor Je pense quavec le peu de temps que lon avait, Jaurai eu beaucoup plus de mal a LIQUID PATCHWORK /// EUROPAN 10 /// JRVENP trouver un systme simple et fonctionnel sans cette base. Legend

Scale of dwelling

+

+

+

+

+

///

Family of musicians

private garde

Concept of the dwelling types

10x5

Scale: 1/200 *

* different types of usage in the adaptable space

pathway

+Family of musicians

+Legend

+

ground floor

LIQUID PATCHWORK /// EUROPAN 10 /private garden shared garden shared open space pathway wooden pathway shared wooden terrace ground floor

population and the fact that bers normally.Scale: 1/200ground floor

sh sa

e Between Buildings - Using ntown. Spaces in between run ed common spaces such us ns, green and wood pathways

Urban blocks

30 dwellings in the main street 13 of 100m

Scale 1:250

12

pices de base

pices de base

ETAPE 3

_Recherches volumtriques_

Les units de logements sont de 50m2, jai donc recherch comment les assembler pour crer des logements plus grands et ensuite pour intgrer des groupements de logements dans diffrents types de parcelles adaptable au master plan dvelopp en parallle. Cette technique de travail volumetrique virtuelle, avec pour base des units trs simples, ma permis de dveolopper mes recherches trs rapidement et donner des resultats intressants sans pour autant approfondir dmesurment puisque nous nen avions pas le temps.

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researchers and turists follow in time througout seasons and it is properly linked to Kallio-Kuninkala Music School and the residential area. Towards east and south, large ground fields are preserved for the future in connection with the forest zone of Lippumaki residential building.

_Intgration des diffrentes formes de logement au masterplan_root blocks (urban shape)

ETAPE 4equipment, facilities and education

selon les differentes strates du quartier, nous avons adapts les ilots aux parcelles.(music) students dormitory

maisons de 2 3 unitssingle family housing and cottages

Ilot rectangulairesroad traffic and external parking

Ilot carrpedestrian and bicycle zone

units en bandesprivate gardens and terraces

a t trs intressant de voir que mener deux types de recherches des chelles totalement opposes peut conduire un projet cohrant sil on est attentif ce que chacun fait en prenant en compte tout les avis, les ides.

14scale 1:2000

_Realisation de plans dtaills de 3 types dlots_

ETAPE 5

Pour expliquer, communiquer le projet, jai dtaill une partie du quartier. La paysagiste cest occup des textures au sol. Cela permet dexpliciter le projet au sol: il sagit dun patchwork de textures qui sculptent, dlimitent, relient les espaces plus ou moins privs. Une insertion du paysage dans le quartier et inversement: la parcellisation renvoie aux dcoupages des champs et permet une sparation sans dlimitation matrielle.

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_Compilation et montage des panneaux_Arriv au terme du concours, nous nous sommes rpartis les diffrents panneaux en fonction des contenus que chacun avait dvelopp. le premier prsentait le projet, le concept et le masterplan. Le second dtaillait le projet par diffrents diagrammes et un plan masse plus grande chelle. Et jai ralis le panneau dveloppant dtaillant lchelle du batiment, le fonctionnement du quartier. Nous avons eu un probleme de temps et au final, nos panneaux ont manqu dhomognit.

BA 239 /// JRVENPThere are, at least, three major strategies we consider in our conceptual approach to the project. This foreword would try to outline them briefly. First, we do not think the study site is an area to be planned with a closed vision since we do not trust urbanism more than people. Inhabitants of this future area should be the main characters to define, based on the way they feel through the years, the real character of this new area. For that purpose, we do think in a possitive way about the concept liquid described on the book Liquid Times: Living in an Age of Incertainty. Zygmunt Baumann considers this liquidity a defect of our times. Liquid times is about the weakness of the human relations wheter they take place in a social level or a labour one. In this site of Jrvenp we would like to create a kind of Liquid Urbanism in order to avoid a future Liquid Town. This means we will propose an open strategy to be completed through the years involving the future citizens and the decisions they make to achieve their own goals. Liquidurbanism will be something alive, non fixed but with enough guidelines to be developed and completed step by step, pursuing the idea of a non-Liquid Town as the best scenario possible where relationships between people can take place. In postmodern cities, no matters their size or location, individual projects for personal fulfillment take place and collective goals are banned for economic reasons but it should be the other way around. According to Baumann, there is also a lack of confidence and for some, that is besides the question to be worked out to beat the present crisis. Second, Liquid Urbanism will deal with a different range of densities within a gradient starting at the east boundarie of the study site -the railways- decreasing until it touches Lipppumaki residential and forest area and east Terlola residential zone. We are trying to define not only a dense new area but a intense one as well, as said by Monique Ruzicka-Rossier the question is not how dense our neighbourhoods should be but how diverse they should be. Even more, according to Franceso Cingolani, the question might jump from densification and diversity to cooperation. We think that this is a concept that should be implemented by urban planners and designers from the beginning and we therefore will take it into account in our scheme for future Jrvenp. Democracy is about dialogue and cooperation in a mature society like the Finnish one. Finally, we will suture our fragile ongoing liquid urbanism with a patchwork made up of different tissues such us moraine hills, existing fields, cultivated landscape, sport fields, empty sites and kept back plots. A wide range of in between situations between build or programmed and existing landscape, so the study site become an alive system with real capacity and potential to adapt to future users and lifestyles. As in cubism, we introduce time as the fourth dimension of our patchwork liquid urbanism representation. Being the aim of the project to create a new ecologial low-rise housing area within a valuable cultural landscape, our proposal tries to achieve these goals. With regard to the city strategy. Since it is a well connected area by train and road, our concerns are how to guarantee easy links with the main roads along the lake and the future west-east. They are depicted in the next paragraph. With regard to a new urban mobility. It seems that sometimes we forgot that cars exist by means of making peoples lifes easier but not on the contrary. Although politicians and urban planners are always coping with these concepts such us mobility, pedestrian areas and so on, most ot the times they are only slight and minor attempts with lack of true interest in changing things. The best examples we know up to date are those around the concept of Living Street (say Woonerf in the Netherlands, Home Zones in the United Kingdom or Shared Zones in Australia) as well as -one step below when it comes to peoples protection- Shared Space where cars and pedestrians share the same space and they have to keep an eye on each other. We are proposing for Jrvernp what Jan Gehl describes in his book Life Between Buildings - Using Public Space as a space for pedestrians where cars are guests. From this book, we also pick a couple of important ideas for the built area of our neighbourhood. We take small housing groups of 15-30 households due to the fact that it has been found out that these groups work quite well encouraging social networking, according to Jan Gehl. Also the establishment of a social structure and corresponding physical structure with communal spaces at various levels permits movement from small groups and spaces toward larger ones and from the more private to the gradually more public spaces, giving a greater feeling of security and a stronger sense of belonging to the areas outside the private residence. To us, this is of the highest interest in order to avoid the usual street-section where the public and the private are clearly separated. Not only, as said before, cars, bikes and pedestrians must negotiate their speeds and spaces in the streets, but also public spaces and private are not radically splitted and there are many semi-public zones in between, some of them are in the built area and are shaped street or urbanlike and others are in the non-built and non-programmed areas and therefore are more rurallike. In these spaces cars are not banned but it is encouraged biking and walking which is easier, cheaper and finally, safer. With regard to a new social life. Having in mind the difficulties of Finnish people to get together and socialize due to the cold climate specially, our proposal is about spaces and streets to meet, mid situations and starters to cause casual encounters througout this new area of the city of Jrvenp. Besides, we take into account the cultural heritage and the huge importance of national composer Jean Sibelius and work out on something to pull a trigger in the area. According to American urban studies theorist, Richard Florida, a Creative Class might be the starter to pull this trigger. We propose a very low density area close to the west boundary of our study site which would be connected with the Ainola Home Museum of Sibelius. In this area, a bunch of isolated houses to be used by students and artists interested in Jean Sibelius workand therefore granted by the Ainola Home Museum, Kallio-Kuninkala or other institution to spend a term there. These dwellings have a special design since they are along what we call a Sonic Forest which is connected with both Ainola Home Museum and Kallio-Kuninkala areas. We have read in the site definition that in the early 20th century an artistscolony emerged in the area and its villas and their gardens are still important because of their cultural history and architecture. Again, we try to repeat that successful scheme as an anchorage between the past and the future. Or Creative Class will be likewise an heterogeneous mix of musicians (students and teachers), artists (land artists and others) and farmers (to cultivate the land) shaping a fertile ground for the future. Definitively we are sure that a Creative Class will not become itself a ghetto since there is always a real need for other professions, social classes and profiles to enhance a new neighbourhood and make it not only dense but also intense and diverse. Spanish biologist, psychologist and environmental engineer Salvador Rueda has settled an equation for the current challenges concerning sustainability and energy eficiency. The equation connects consumed energy and diversity. Being e (energy eficiency) = E / H where E is the consummed energy and H is diversity and complexity of uses and functions, as said before by Monique Ruzicka-Rossier. With regard to a new ecology. The work of Spanish artist based in Rotterdam Lara Almarcegui is based on the waste ground. She looks for areas or pieces of open ground or land and then negotiates to keep them as they are for a period of time as long as possible, as a reflection about the land in our society, which has become a consumer good. Since we are dealing with a Liquid Urbanism that wishes not be planned as a completed entity, we take her ideas to introduce these areas or land as part of the project keeping them as they are for the time that future inhabitants think suitable. Once the new community and its citizens had been living in the new area and think about these plots with enough ahead of time, perhaps they find out then what to do there, maybe a social centre, a new school, some more dwellings for elder people or just keep it as it is for some more time until they really need it for some purpose. Meanwhile, the mark of the previous old land of Jarvenp, some of the fields and the built moraine hills are preserved and new colonizers are eco-aware of it and, at the same time, they are still saving a natural resource which is impossible to be replaced or produced, their own land. Necessarily this decision leads to a new landscape neither rural nor urban but somewhere in between where land gets into the city or city grows in the middle of the land, surrounded by preserved fields with different shapes and uses. Some of them are memories from the past, others are now sportfields, a few of them will evolve naturally to waste ground or finally will be drawn up with new programme the city requires. In that sense a new political culture blossoms for the democratic decisions to be made in the future on behalf of the whole new community in relation with these non-programmed spaces. The landscape of future Jrvenp will be surprising and unexpected and perhaps it might happen that some of these areas were surprisingly occupied by Wheatfields like the one Agnes Denes realized in Battery Park Landfill (New York). American Environmental Artist Agnes Denes (born in 1931 in Budapest -Hungary-) not only planted a two-are field of wheat in a vacan lot in downtown Manhattan, a huge field of wheat in the middle of New York, but she also completed a massive earthwork and reclamation project which involved the construction of mountain on the site of an old gravel quarry and the planting of eleven thousand Finish Pine trees, helped by people who volunteered from differente countries in a project that was first announced by the Government of Finland at the World Summit in Rio de Janeiro as a contribution to global ecology. Agnes Denes was one ot he early pionners of both environmental art movement and Conceptual art and we found very interesting the link between this work in Finland calle Tree Mountain - A Living Time Capsule and the American Wheatfield - A Confrontation with others later by Lara Almarcegui described here too and our approach to this new site of Jrvenp in which, as we wrote backwards, we want an unexpected and surprising kind of patchwork liquid urbanism.

BA 239 /// JRVENPThere are three more or less vertically orientated stripes to be identified. The first one, starting from the east edge of the railways is a huge area of mixed program to keep the train separated from the new settlement. This decision is made based on the situation of two halts, -one on the northeast and the other on the southeast- which will be properly connected with the inner area but implies a true frontier and a source of noice in case housing were placed in this area. Thus we create a natural barrier or transition between this line and the dowtown in order to preserve the residential area from this noise. open fields However, we do believe that watching the train approaching and leaving a station or just seeing it passed by is a nice experience and for that reason in our design sportfields and non-programmed fields, even waste ground are placed in this first vertical stripe close to the railway as a patchwork of different colours and uses. Besides, we highlight the new area in both northeast and southeast vertexes with aisolated tower-blocks shaped like snakes pointing the limits of this side of the area. The tail of these snakes is an horizontal program of mostly sport facilities and some commercial areas serving the sportfields that separate the train from the city as an extension of the former land now shaped as a wedge and made of different remnants such us waste ground, sportfields, cultivated landscape and others where subtles buildings emerge from the land and look over the trees towards the train and the new city. From the first floor to the top, the two dimensional patchwork drawn is completed with the third vertical dimension since office spaces and perhaps some windowed balcony restaurants add the diversity required to this area. The second stripe is a more pedestrianlike area where small shops are along the narrows Living Streets where cars are not very wellcome -but still not banned- as explained before. Low-rise dwellings made up of systematic simple units put together forming groups of a maximum of 15 -20 per block which is enough to enhance the sense of belong to a small community. Halfway spaces between public and private colonize the streets and dwellings are designed with more intermediate spaces such us gardens, greenhouses or workshops that also connect the private with the public. The third stripe is the Sonic Forest where, as described before, students and artists interested in Jean Sibelius works and life might be granted to spend a term and research. This is the less dense stripe and besides there are huge areas of land kept as they are in order to be developed later upon needs. The south area of the study site has two different parts. The one near Kallio-Kuninkala will be occupied by a hall of residence where students, artists, researchers and turists follow in time througout seasons and it is properly linked to Kallio-Kuninkala Music School and the residential area. Towards east and south, large ground fields are preserved for the future in connection with the forest zone of Lippumaki residential building. Among the three stripes an intermediate area appears where non-programmed spaces and cultivated land are relevant. These areas are meant to stitch or sew one stripe to another as a kind of gentle transition between zones and they merge them to complete and unfinished and consistent ongoing patchwork of different textures and layers.

BA 239 /// JRVENPBased on the natural resources and energy available in Finland, we are aware of the importance of Bio-mass energy but also that the specific design of dwellings is not affected by it. Nevertheless, as many as necessary bio-mass energy centres must provide the energy demanded by this new settle. Apart from that, passive strategies are implemented in the design of both isolated dwellings and blocks. Orientation and solar gain stored in both exposed thermal mass and greenhouses, solar collection on south facing roofs, external roller blind shading, heat recovery from sauna with underfloor heating, crossed ventilation are basic in dwelling and blocks. Concerning the housing units, a flexible modular type 10 x 5 metres serves as a grid to design 5 different dwellings for: Elder people Young couple Shared housing by roommates Family with children Family of musicians

Bioclimatic and ecologic aspectsScale of neighbourhood Scale of dwelling

+Concept of the dwelling types

+*

+

+

+

* different types of usage in the adaptable space

10x5

+

+

+

The proposal does not include large units based on a study of the Finnish population and the fact that they mostly (40%) live alone and familys do not have more than three members normally. Groups of dwelling of up to 15-20 units, according to Jan Gehl s book Life Between Buildings - Using Public Space are the core of the area of our new neighbourhood, the downtown. Spaces in between run from intimacy of private gardens to shared open space going through shared common spaces such us saunas, living rooms or playrooms connected to the houses, shared gardens, green and wood pathways linking different groups of dwellngs, even shared wooden terraces depicting a wide range of halfway situations bewteen public and private and erasing the limits between people looking for a deeper sense of community and enhancing values of society, group and democracy.

Urban blocks

30 dwellings in the main street 13 of 100m 17 of 50m 14 in the blocks 4 of 100m 10 of 50m

towers (facilities, offices and apartments)

Plan of the study site + project site. Scale 1:3000.

KIROLA train station

x

JEAN SIBELIUS home - museum

a. PATCHWORK: SONIC FOREST. b. PATCHWORK: DOWNTOWN. c. PATCHWORK: SPORTS FIELD + OFFICE TOWERS. d. PATCHWORK: STUDENTS HALL.root blocks (urban shape)

Views on the easten side, where most of the equipment and facilities are located.

second floor

equipment, facilities and education

Dwelling types

Urban block of 12 dwellings6 dwellings of 100m 8 dwellings of 50m

Proposition of interior architecture wtch can be adapted to the needs of the residents.

Elder people

(music) students dormitory

Young couple

single family housing and cottages

first floor

Shared housing, roomates

second floor

road traffic and external parking

KALLIO KUNINKALA music school

RISTINUMMI train station

x

Family with children first floor

etape 6Growth of the city. Aereal view of the proposal.

pedestrian and bicycle zone

private gardens and terraces

Family of musicians

ground floor

ground floor

scale 1:2000

Scale 1:250 Legendprivate garden shared garden shared open space shared common space; sauna/livingroom/playroom

Scale: 1/200

pathway

wooden pathway

shared wooden terrace

...

LIQUID PATCHWORK /// EUROPAN 10 /// JRVENP /// BOARD 1/3

LIQUID PATCHWORK /// EUROPAN 10 /// JRVENP /// BOARD 2/3

LIQUID PATCHWORK /// EUROPAN 10 /// JRVENP /// BOARD 3/3

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Cette premire exprience dimersion dans la ralit du travail darchitecte a t pour moi extrmmement enrichissante. Au dbut, japprhendais, ne comprenant pas quel pourrait tre mon rle puisque je pensais navoir aucunes comptences. Mais ds les premiers jours, les architectes mont mise laise, me questionnant, discutant avec moi ce qui ma permis de me sentir beaucoup plus laise et ainsi rellement profiter de ce stage. De plus, le fait dvoluer dans une autre langue que la mienne me pausait aussi des problmes mais au final cela a t positif puisque jai pu pratiquer cette langue et donc progresser encore. Le montage de vido ma permis de dcouvrir des architectes, perfectionner ma technique. De plus, jai du prendre des dcisions, faire des choix et les assumer lors des prsentations. Jai ainsi pu affirmer mon autonomie ce qui tais difficile pour moi au dbut puisque il ne sagissait plus dun travail personnel mais celui de lagence. Le concours a t plus stimulant puisque on travaillait en quipe. On a ainsi pu avoir de nombreux discussions et dbats sur les orientations que prenaient le projet, lavancement de chacun... Jai aussi pu me confronter un projet lchelle dun quartier et donc urbanistique. Et cela ma pros des problmes car je pense ne pas avoir des bases assez solides en urbanisme. Mais cette exprience ma permis de dvelopper mes connaissances et ainsi me familiariser aux mthodes danalyse et de conception dun projet durbanisme. Et cette seconde exprience ma de nouveau confront des choix, des dcisions prendre seule pour faire avancer mes recherches. Pour conclure je peux dire quoutre le fait que jai rencontr des architectes passionnants et passionns par leur travail, que jai pu dcouvrir leur travail, le fonctionnement dune agence, jai surtout appris avoir plus confiance en mon travail, mes choix et mes dcisions pour pouvoir travailler en autonomie. Jai dailleurs hate de renouveler cette exprience dimmersion dans une agence. Je compte dailleurs, pour mon second stage, morienter vers les pays scandinaves. ce qui, je le pense me permettront dacroitre mes comptences et mon assurance pour pouvoir tre plus fficace et laise dans des structures professionnelles.

mon point de vue

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