P o r t f o l i o2012/15

Antoine Vercoutre

English Version

2c u r r i c u l u m v i t a e

3A N T O I N E V E R C O U T E R E110 Avenue Simon Bolivar, 75019 Paris

phone number: +33 7 86 66 91 41mail address: antoine@vercoutere.eu

website: antoine.vercoutere.eu

G r a d u a t e s

2012 - 2015: Ecole Nationale Suprieure dArchitecture de Paris Malaquais (Paris Malaquais Architecture School), Se-cond License Year.

2012: Baccalaurat (French Secondary School Diploma) with Honours, Science Major, European Section in English.

E x p e r i e n c e s

September 2013 - July 2014Scouts And Guides of France: In charge of 18 young people from 11 to 14 years old. Organization of a 15 days summer camp (in charge of animation).

February 2013 - March 2014We Love Green Festival in Paris: Workshop for the design of the furniture of the festival, with a group of 6 persons.

September 2013Labor internship in Fermetures Marnaises du Batiment : Installation of windows, doors, etc.

Juillet 2013Scouts And Guides of France : Participation in the elaboration, preparation, and fulfillment of a one month project in Senegal (I was in charge of the budget).

L a n g u a g e s

French, native languageEnglish, B2 LevelGerman, B1 Level

S K I L L S

M i s c e l l a n e o u s

Brass band saxophonistElectronic Music Composition (Ableton, Logic Pro X, Reason)

AutoCADSketchUpRhinocerosIllustratorInDesignPhotoshopMaxwell RenderVRayQuartz ComposerGrasshopperProcessing

4W o r k s2012/15

5P 3 : T h e o r i e s

F r o m s o u n d t o f o r m

P 2 : P r o c e s s

C r i t i c a l I n q u i r y

R o b o t i c s & c o n t r o l

P a i r w o r k

C o m p e t i t i o n " B u i l d i n g S t e e l "

C o n c r e t e w o r k

I n t r o d u c t i o n t o p r o c e s s i n g

W e L o v e G r e e n W o r k s h o p

M i c r o a r c h i t e c t u r e s

P 1 : u r b a n n a r r a t i v e

p e r s o n a l w o r k s

Winter 2015

Fal l 2014

Spring 2014

Spring 2014

Winter 2014

Fal l 2013 / Winter 2014

Fal l 2013

Fal l 2013

Fal l 2013

2013-2014

Spring 2013

Fal l 2012

2012

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6P 3 : t h e o r i e sThird Semester Project in Architecture School

Winter 2015

The third semester project in Architecture School is directed to the creation of a temporary pavilion, implanted in Paris, housing an ex-hibition. My proposition was to create spaces using a scaffolding structure. The use of scaffolds permits to create easily moveable par-

titions of space, permitting to fit exhibition modulations.The exhibition housed in this pavilion deals with the emergence of electronic musics in the sixties. The modularity of spaces answers to the exhibition subject by allowing the creation of patterns, loops,

atmospheres, according to the rules of this type of music.

71 9 6 0 : L o d y s s e d e l a m u s i q u e l c t r o n i q u e

EN 1960, la commercialisation du premier synthtiseur a mis en marche une vritable rvolution dans le milieu de la musique.Ce pavillon met en lumire les pratiques exprimen-tales lies lmergence de la musique dite lctro-nique, notamment la musique minimaliste.En exposant une srie doeuvres lies ce thme, le projet remplit dabord une fonction dexposition. au-del de cet objectif, il sinspire des rgles de la mu-sique minimaliste (regroupant une grande varit de sous-genres qui sy apparentent) pour dfinir des es-paces.Ainsi a t dfini une gamme architecturale, com-pose dlments comme la lumire, la forme, les pro-portions, le visuel, le ressenti physique, laquelle on applique des rgles de rptitivit, de srialisme, dato-nalit, propres la musique minimaliste.Cette gamme sexprime selon les diffrentes squences qui forment le parcours de lexposition.

Expression de la dualit entre les modules rptitifs de la structure et la singularit de la cellule qui sy installe.

Le cube, motif de base, compos de cinq panneaux reprsentant des notes

La modularit et la diversit de ces panneaux permet des squences despace offre une possibilit de composition lintrieur de la grille primaire.

Evolution de la lumire et des proportions au cours du parcours

Bassin de

la Vil

lette

Bati ex

istant

Quai

Route

N

Plan MasseEchelle 1:500

Antoine VERCOUTERE Licence 3 - ENSA Paris Malaquais

P3 - Nicolas LeducPavillon dExposition

27.01.2015Semestre 2014 // 2015

Montage

AxonomtrieCirculations

Embase / Element porteur vertical (2.70 kg / 2660.000)

Montant / Element porteur vertical (3.00m / 14.10 kg / REF2603.300)

Moise / Element porteur horizontal (2.07m / 8.20 kg / REF2607.207)

Montant / Element porteur vertical (2.50m / 12.20 kg / REF2603.250)

Plancher Combi 0.50m(2.07m / 8.00 kg / REF0717.634)

N

0,10

0,50

1,00

Mtres

Dtail FaadeEchelle 1:10

Axonomtrie Eclate (sans chelle)Elements Porteurs

Vue Sur Site #2Vue Sur Site #1

8ESPACE EXPOSITION

H.S.P : 2.50 m

RAMPE (Entre)

ESCALIERS (Sortie)

VIDE

30.0 m

8.0 m

WC

RAMPE (Entre)

STOCKAGE H.S.P : 2.50 m

ACCUEIL/BOUTIQUE H.S.P : 2.50 m

VIDE SOUS RAMPE

H.S.P : 2.50 m

Elevation Nord-Ouest

Echelle 1:100

Elevation Sud-Est

Echelle 1:100

Elevation Nord-Est

Echelle 1:100

Elevation Sud-Ouest

Echelle 1:100

Plan Premier Etage

Echelle 1:100

Plan Rez-De-Chausse

Echelle 1:100

Plafond (Etage)

Cloisons (Etage)

Plancher (Etage)

Cloisons (Rez-De-Chausse)

Rampe

Plancher (Rez-De-Chausse)

Echafaudages (Structure)

Squences : Vue Intrieure #1

Recherches Ambiances : Ouvertures

Antoine VERCOUTERE

Licence 3 - ENSA Paris MalaquaisP3 - Nicolas Leduc

Pavillon dExposition27.01.2015Semestre 2014 // 2015

ACCUEIL/BOUTIQUESTOCKAGEWC

ESPACE EXPOSITION

Squences : Vue Intrieure #2

Coupe Perspective AA // Echelle 1:50

Coupe Perspective BB // Echelle 1:50

ACCUEIL/BOUTIQUE

ESPACE EXPOSITION

RAMPE

AA

B

B

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F r o m s o u n d t o s h a p eAbleton + Quartz Composer

Fall 2014Personal Researches

The goal of this project is to manage to display, by using computing tools, the sound produced on a software such as Ableton. Being a musician since 12 years, my approach is to transpose music I com-posed into forms. Everything is set on real-time, permitting a viewer

to visualize every impulse given when music is played.

This research goes beyond the simple musician/audience connec-tion to the extent that I want to use these visual informations in order to base an architectural project on it. This would permit to create a direct link between music composition, and architectural composi-

tion. This project is still in progress, its evolution is available on :

http://antoine.vercoutere.eu

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Experiments on sound and forms:According to the sounds emitted by Able-ton (MIDI impulses), Quartz Composer is set to display a certain colour.With the evolution of sounds, the shapes are growing, and overlaps with other co-lours.

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Video : Modifying a shape according the the Ableton impulses.

Video : Display a shape according to the Ableton impulses.

Videos can be consulted on : http://antoine.vercoutere.eu

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P 2 : P r o c e s sSecond Semester Project in Architecture School

Spring 2014

Second semester project in architecture school deals with the archi-tectural process. The starting point of the project is a fruit or a ve-getable (my project is based on an onion), from which we find the intrinsic characteristics, in order to develop them in an architectural

project. The final result is a pavilion without any program.In this project, my pavilion has been developed according to these

characteristics: form strata in a set of interweavings .

15Intention Collage

16 Plans & Circulations Diagrams

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Axonometry

Elavations

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Inside Views

19

20 Section in Perspective

21Final Model

22 Sequence Detail on Final Model

23Final Model

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C r i t i c a l I n q u i r yArchitectural Theory

Spring 2014

This teaching dealt with architectural theory in english. We had to write an essay per week about an architecture critic (like Colin Rowe, Alan Colquhoun, etc). This teaching allowed me to perform my engli-sh, and approach complex writings about architecture in an abstract way (without any drawing or image). Here is my final essay, about the question of utopia, and the notion of Golden Age in architecture.

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The Golden Age

What is there to see in an old picture except the laborious contortions of an artist throwing himself against the barriers that thwart his desire to express his dream completely? Admiring an old picture is the same as pouring our sensibility into a funerary urn instead of hurtling it far off, in violent spasms of action and creation.Do you, then, wish to waste all your best powers in this eternal and futile worship of the past, from which you emerge fatally exhausted, shrunken, beaten down?1

These words are from the poet Filippo Marinetti, who was the leader of the Futurist movement, which appeared in the rst part of the twentieth century. His manifesto for futurism deals with an allegory of the vision beyond the current situation, thus rejecting everything made in the past. Utopias for the year 2000 were following this example of proposing a brand new world, in total rupture with the past. Every utopian architect of the twentieth century believed in a revolution that would change the world, imagining a better and fairer civilization.

However, the ways to express this vision are different from one architect to another, and the things to keep in mind are mostly principles that are being tested by each one.For example, Colin Rowe has shown how Le Corbusier's utopia contained a notion of a Golden Age, that 2existed in every past civilization. He also expresses the architectural design principles that were part of the avant-garde architectural movement, becoming utopian in themselves. At the urban scale, Colquhoun explains the utopian nature of the notion of Superblock which is part of an avant-garde approach to urban 3design dealt with through notions of scale and organization. The city of New York is a perfect example to illustrate the evolution of the superblock.

Beliefs in the millennium are multiples and they all promise big change in everyone's life. Today, in hindsight, it is possible to make conclusions about the millennium and this supposed Golden Age as well as about the role of architecture in this evolution in architecture and, consequently, in society. Nonetheless, it is evident that utopias and futurisms are aiming to express ideas for a distant future. Whats more, in architecture, the evolution is one of the slowest, being far slower than grange in society; indeed, Parisians are still living in Haussmann's buildings and boulevards. Perhaps this is why architects of utopias are attached to a certain city form, but also to a conception of the society; these two concerns are linked to each other.

Knowing this, one must wonder what is the best way to make architecture evolve faster. Certain periods of History were more fecund for fast evolutions; as a case in point, post-war constructions often move toward a new vision of architecture. Because of the destructions of war, the normal cycle of deconstruction/reconstruction was suddenly reduced to only reconstruction thus allowing faster implementation of new architectural ideas in built form. Beyond such historic circumstances, every architect has a specic vision of the city and a will of seeing his plans realized. Le Corbusier's legacy teaches that, by being radical and aiming high, it is easier to be heard and get the closer to what ones objectives. Communication is an important part of constructing a utopian vision.

Communicating utopian ideas is much quicker than realizing them. Nonetheless, even if evolution in architecture is slow, but because every project is an adventure in which the architect and the society are taking part, something just might happen. If the architect is too utopian about a project, it will be rejected by the society. If he is too much turned toward past, he also risks to be rejected. Indeed, this brings us to, the problematic of the style of our time, which is of course one of the most difcult to deal with. Even if architectural change arrives more slowly than societal change, architecture has a connection to the society, which is the most inuent judge of an architects work. The challenge then is how to deal with linking two different speeds of change in a way that make sens through a style of our time that links past, present and future.

/1 1

Filippo Marinetti, The Founding And Manifesto of Futurism, in Le Figaro (20 February, 1909), p. 1.1

Colin Rowe, "Le Corbusier, Utopian Architect", in As I Was Saying, Volume I: Texas, Pre-Texas, Cambridge 2(Cambridge: MIT Press, 1959), p. 137.

Alan Colquhoun, "The Superblock", in Essays in Architectural Criticism (Cambridge: The MIT Press, 1971), p. 963

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R o b o t i c s & c o n t r o lIntensive Work #3: Grasshopper & Rhinoceros

Winter 2014

Intensive Works in Paris Malaquais Architecture School are little pro-jects, made in a week to train us on a particular subject. This work aimed at learning us how to program a robotic arm in order to make

it build a three dimensionnal shape.I worked with three other people on the research of a shape, and on the programmation of the robotic arm with Grasshopper. The final shape we kept was thought to be easily assembled after manufactu-

ring several modules.

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ROBOTIQUE & CONTRLE : PRFABRICATION ET ASSEMBLAGE PYRAMIDEDigital Knowledge www.digital.knowledge.net 21/02/2014ENSAPM INTENSIF Felix Agid, Tristan Gobin, Mathieu Venot ANGELI Ornella / SERIN Armand / VERCOUTERE Antoine / SANCHEZ Ashayacatl

Vues RHINO + GRASSHOPPER du fichier utilis pour la dcoupe

2ROBOTIQUE & CONTRLE : PRFABRICATION ET ASSEMBLAGE PYRAMIDEDigital Knowledge www.digital.knowledge.net 21/02/2014ENSAPM INTENSIF Felix Agid, Tristan Gobin, Mathieu Venot ANGELI Ornella / SERIN Armand / VERCOUTERE Antoine / SANCHEZ Ashayacatl

3

Etapes dusinage

Modules finaux

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P a i r W o r kModel l ing and Rendering Projects

Fall 2013 / Winter 2014

Pair work on housing, and a temporary pavilion implanted in Paris. I worked on the modelisations and the renderings using SketchUp,

Adobe Illustrator, Adobe Photoshop and Maxwell Render.

29Housing Project - Research on the sections in perspective

30

31Temporary pavilion - Structure Exploded View

32 Renderings - Integration on the site

33Axonometry of the situation

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Competit ion "bu ilding Steel"Metal l ic Footbridge

Fall 2013

This competition aimed us to design a metallic bridge with a span of 40 meters. I was with a group of 3 persons, and we did a pro-ject sketch to take part on this competition. I modelized the bridge,

made the renderings and formatted the layout.

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BELLO FlixAVINEE MathildeVERCOUTERE Antoine

Ecole Nationale Suprieure darchitecture Paris MalaquaisAnne 2013-2014Concours Passerelle Busst St Georges

Elvation

Plan

Coupe AA

Coupe BB

BELLO FlixAVINEE MathildeVERCOUTERE Antoine

Ecole Nationale Suprieure darchitecture Paris MalaquaisAnne 2013-2014Concours Passerelle Busst St Georges

Schma statique

Rendu

Dtails techniques

Dtail de lattache au sol (rotule)

Dtail de lattache des parois vitres

Dtail de lattache des cbles larc

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C o n c r e t e W o r kConstruct ion Lessons

Fall 2013

During my first semester in architecture school, I had a construction lesson about concrete. The final execution was a 1:20 model of an existing building. I worked with a group of 2 persons on a pavilion of Felix Candela. We modelized the shape of the building, realized a framing with cardboard cut with a laser-cutter, and poured the

concrete to obtain this shape.

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Existing Building

Models

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Introduction to process ingIntensive Work #2: Processing & Rhinoceros

Fall 2013

Intensive Works in Paris Malaquais Architecture School are little pro-jects, made in a week to train us on a particular subject. This inten-sive work was about Processing, and how to link it to architectural creation. I followed lessons gave by Satoru Sugihara, who developed igeo, a Processing plugin. It resulted on algorithms, mostly based on random. Our goal was to influence this randomness in order to

create shapes in a cube.

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evolution de la formetransformation

1

2

3

4

5

BEN GUIGUI FannyBONNET Mathilde

ENSAPM- Intensifs Licence 2 Semestre 1 2013-2014 D3WIntensifs Numriques Digital Design Literacy 3

VERCOUTRE Antoine

vues du rendu finalforme

VUE DE DESSUS

VUE DE FACE VUE DE DROITE

BEN GUIGUI FannyBONNET Mathilde

ENSAPM- Intensifs Licence 2 Semestre 1 2013-2014 D3WIntensifs Numriques Digital Design Literacy 3

VERCOUTRE Antoine

vues du rendu finalforme

VUE DE DESSUS

VUE DE FACE VUE DE DROITE

BEN GUIGUI FannyBONNET Mathilde

ENSAPM- Intensifs Licence 2 Semestre 1 2013-2014 D3WIntensifs Numriques Digital Design Literacy 3

VERCOUTRE Antoine

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W o r k s h o pFurniture Design Competit ion for We Love Green 2014 Edit ion

Spring 2014

W e l o v e g r e e n

Every year, the We Love Green Festival is held in the Parc de Baga-telle, in Paris. This festival uses architecture students to design fur-niture, signalling systems, etc made with recycled materials. I pre-sented, with the JAMMMS collective, a proposition for the furniture. The following images, made with SketchUp, Maxwell and Adobe

Photoshop, are my part of the work for the proposition.

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Proposition of an upper table

Proposition of an upper table

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Proposition of a bench

proposition of modules

43Proposition of a mixed-used upper table and a table

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M i c r o a r c h i t e c t u r e sIntensive Work #1 : Appropriat ion of a bui ld ing courtyard

Spring 2013

Intensive Works in Paris Malaquais Architecture School are little pro-jects, made in a week to train us on a particular subject. This intensive work aimed us to develop a small project in a building courtyard. We worked with the city hall of the 3rd district of Paris, who wanted us to

make the building courtyards more attractive, more ecological.This project has been deisgned with an artistic reference to Daniel

Buren, dictated by the initial question.

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Existing courtyard

Proposed project

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P 1 : U r b a n N a r r a t i v eFirst Semester Project in Architecture School

Fall 2012

During the first semester in Architecture School, I worked on urban narrative, and how we find ourselves in the city. This notion of mark in the city was the starting point from my project. The final model had to fit in a 30 centimeters cube. My goal was to present a piece of a cube that deceive the onlooker, in order to highlight the needings of

marks, and the way we assimilate them.

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Final Model

Principle of the cutting of the cube

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P e r s o n a l W o r k sModel l ing and Rendering

2012

Before I entered in Architecture School, I started using basic softwar-es (SketchUp, Kerkythea, Adobe Photoshop, Solidworks), which al-

lowed me to assimilate the basics of CAD.I modelized invented projects, and famous buildings of the modern

architecture.

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Passive House Project