I am Monica Basbouss, and this is my portfolio.

Graduating in July 2009 with a Bachelor of arts

in architecture from the Ecole Polytechnique
Federale de Lausanne, I hereby present you
with this detailed overview of the projects I
have developed during the first two years of my
university education.
As a part of my university program, a year of
training is necessary before entering the Masters
cycle. This year will start in mid-July 2009, and I
would be more than honored if I could have the
opportunity to undergo my internship amongst
you.
Feel free to look through this booklet for as long
as time allows, and do not hesitate to contact me
if something catches your eye.

Regards, Monica Basbouss

Portfolio
Monica Rita Basbouss Moukarzel / Chemin des Triaudes 11-120, 1024, Ecublens, VD, Suisse/ +41 76 233 14 23
monicarita.basboussmoukarzel@epfl.ch

bzoing_@hotmail.com

Date and place of birth 15.11.1988/ Venezuela

Nationality Lebanon/ Venezuela

Mother tongue English/ Francais/ Arabic

Written/ Spoken fluently English/ Francais/ Arabic

Written/ Spoken Español

Curriculum Vitae
 Education

EPFL/ENAC/SAR/ Bachelor of arts in architecture

3rd year studio/ Bernard Khoury 2008-2009

2nd year studio/ Atelier ALICE/ prof. Dieter Dietz 2007-2008

1st year studio/ Atelier ORTELLI/ prof. Luca Ortelli 2006-2007

Lycee Francais de Koweit/ Baccalaureat scientifique 1995-2006

Antonine Sisters’ School, Ghazir, Lebanon 1994-1995

Ecole Sainte Famille, Sahel Alma, Lebanon 1991-1994

Travels

ITALY/ Venice/ Mantua/ Verona/ Vincenza, UK/ London, FRANCE/ Lille/ Calais/ Paris, UAE/ Dubai/Abu Dhabi, 2008/ 2009
VENEZUELA/ Canaima/ Caracas/ Puerto Ordaz,

ITALY/ Ivrea, FRANCE/ Salines de chaux, Arc et Senans, CYPRUS/ Agia Napa 2007/ 2008

IRELAND/ Dublin, BAHRAIN, UAE/ Abu Dhabi, FRANCE/ Paris/ Avignon/ Nimes, LEBANON/ Beirut, SYRIA/ Damascus 2005/ 2006

FRANCE/ Paris/ Biscarosse/ Jezeau, KUWAIT, SAUDI ARABIA, SYRIA, JORDAN/ Dead Sea, LEBANON 2003/ 2004

EGYPT/ Cairo/ Alexandria, TURKEY/ Ankara/ Marmaris/ Istanbul 2001/ 2002

...having lived in Venezuela (1988/1990), Lebanon (1990/1995), Kuwait (1995/2006), Switzerland (2006/2009)
 Professionnal Experience/

Photography Session/Lebanese Girl Scouts, English tutor/private classes 2008/ 2009

Internship in TBWA, advertising and PR agency, Kuwait branch 2007/ 2008

Assistant Librarian at the Lycee Francais de Kuwait 2006/ 2007

Introduction to informatics tutoring

Saint Andrews International Model United Nations, Dublin

Actor, Huis Clos, by J-P Sartre, TROUPE PAMART, Lycee Francais de Koweit

Internship in MEDIA BOX, publishing house, Kuwait 2005/ 2006

Model United Nations, Kuwait

Director/ actor in 8 femmes,by Francois Ozon,TROUPE GONZALEZ, Lycee Francais de Koweit,

merit and achievement award

Internship in TBWA, advertising and PR agency, Kuwait branch 2004/ 2005

Internship in IPSOS Stat, statistics and marketing agency, Kuwait

Actor, La cantatrice chauve, by Eugene Ionesco, TROUPE GONZALEZ, Lycee Francais de Koweit

Adobe Creative Suite (Illustrator/InDesign/Photoshop) Computer skills/

Microsoft Office (Word/Excel/Front Page/Power point)

Rhinoceros 4.0/Vray rendering engine

Maxwell Studio rendering engine

Autocad

Sketchup
Curriculum Vitae/

First year/ ATELIER ORTELLI/

Semester I

Exercise/ Urban staircase/

Exercise/ Urban installation: the market/

Semester II

Project/ Low rise, High density: the individual house/

Second year/ ATELIER ALICE/

Semester III/ Gravity at work/

Semester IV/ London festival of architecture/ Urban installation: Overflow/

CNC Seminar/ The sitscape

“Le Leman des Ingenieurs”: a study on Lake Geneva/

Personnal research and projects/

Photography/ Art/

Table of contents/
Letters of recommendation/
First year/ ATELIER ORTELLI/
Urban staircase/ Slope and terrain study/ Elaboration of a concept

CONCEPT/
Plans and sections, pencil.
The site is located in one of the most important
industrial headquarters of Lausanne. Next to
the trendiest clubs, its location presents some
of the most daring street art. Behind the site is
the MAD!, most popular club in the area, upon
which is painted a 3 meter radius condom.
The specificity of this site would also be the
very steep slope upon which the staircase is
to be implanted. The idea of this exercice was
to modify the slope according to the project,
and adapt the project to the resulting slope in
a rational manner. A staircase suspended on
poles was an option, but beside the point.

The idea was to construct a staircase revealing

the very cold and industrial aspect of the block,
avoiding the tempting monumental and lyric
approaches.

The staircase is made of steel, modular armed

concrete blocs, and glass. It is very narrow,
accentuating that it is solely there to fulfill
its circulation purpose. All ornementation,
decoration and attempts of added esthetic
value have been discarded to leave a
minimalist, hollow shell, only accentuated by
the lighting designed for it.

Exercise/ Urban staircase/

Urban staircase/ Axonometric view/ lighting and fixation information

Axonometric view, pencil.

CONCEPT/

The site is the Place de la Riponne, a plaza situated in Lausanne. The site plan is visible on the next
page. As you can see, the plaza is defined by two main buildings on its sides: a museum and a public
library. The rest of its edges constitute entry points for pedestrians. The plaza was known for hosting
one of the biggest markets in Lausanne, the Saturday morning market. However, upon observation,
the market as it is today is very chaotic, resulting from the absence of a proper infrastructure to host
it. The merchants travel with their carriages and set up their stands where they can find space. Some
years ago, a construction placed in front of the plaza was demolished, and that was where the
market used to take place before it became so empirical.
The idea from this exercice is to elaborate a public space which is left unused, like this plaza, and
using architectural tools, transform it into a versatile space where many activities can be held, one
of which would be a market.
After going to the market and observing the way the elements are placed, and most importantly the
behavior of the pedestrians, I had a clearer view of the space and how it could be used.
The project suggests two long arcades, under which the market can be held, and which define a
central space, a sort of plaza in the plaza, where activities such as concerts, theatre performances,
and many other communitary activities can take place.
Inspired by the museum behind it which is bordered with arches, the two elements are vaulted
and rest on concrete columns. The modular aspect of this installation allows a fast and economic

Exercise/ Urban installation: the market/

construction, as well as a regular and defined esthetic.
Plans and sections, Rotring.
Snapshots of the model in site. Cardboard.

Museum

ELEMENT 1

ELEMENT 2

Public Library Plaza

View into element 1 View into element 2

View of element 2 from the new metro station exit View of the plaza from the entrance stairs next to the museum
Axonometric view of the project in the site. Freehand, Pencil.
Sketches, detail of the modular construction.
CONCEPT/

Low rise, high density. This was a project for a

house destined for a family. The idea was to
project a house which is affordable, and which
takes into account all the new considerations
for sustainable development. The site was
divided into lots and each student given a
space in which to elaborate the project.
In my case, I chose to use wood, and redefine
the traditional rural family house in an urban
context. The use of wood was important for
me, to stay within the regulations of sustainable
development. An eco-friendly house, with a
spacious yet rational interior.
The lower story plan divides the house into two
main strips: circulation, storage, bathroom and
entry in one, and the living space in another.
The choice of using a punctual static system
allows a fluid circulation and an impression of
an extended space which is accentuated by
the large windows in the axis of the entrance.
As for the upper story, the rooms are distributed
around a common central space in which a
small living room or study can be placed. The
circualtion and bathrooms are superimposed
to the ones in the lower story for better access
and rational distribution of plumbing, wiring,
etc...
The division of the house into two floors is in the

Project/ Low rise, High density: the individual house/

goal of separating the more public area of
the house, where the guests can be, and the
more private one upstairs.
The facade is based on a regular grid, and is
developed based on the interior lighting needs.
Long windows are preferred to more square
ones for the intensity of the atmosphere that
they can provide through the light they let in.
As for the garden, it is a reflection and an
extension of the house. The downstairs living
room is prolongated through a wooden
terrasse, and the rest of the garden is covered
by a wooden pergola.
The accentuation of the middle axis in this
house, which contains the entrance, comes
from a need to give more importance to the
dining area of the living room, which is where
the children and parents gather once a day
to be a family for the duration of a meal in
today’s busy world where family values seem
to have taken the backseat to work, studying,
and friends.
Plans, sections, elevations. Pencil.
Detailed plan, construction details. Pencil.
Sectional detailed axonometric - Pastel.
 First floor

Model - View from main street (North-east)

BEDROOM 2 BEDROOM 1 MASTER BEDROOM

16 m2 16 m2 23 m2

8 meters

LIVING ROOM BATHROOM

26 m2
STAIRCASE

BATHROOM

Model - View from garden (West)

12 meters
 Ground floor

SHED

PERGOLA

Model - Main entrance

TERRASSE

LIVING ROOM DINING ROOM KITCHEN

45 m2

15 m2

STAIRCASE BATHROOM

Model - Diagonal view into kitchen and garden from main entrance
Poster: “Wood: The return? Wooden constructions in an urban context”
Second year/ ATLIER ALICE/
 Gravity at work/ Experimental models/ physical constructs/ conceptual course/

GROUND/

Studying ground as a
3 dimensional object
as opposed to a
linear surface/

Extrusion of ground
and the study of
impact, weight,
acceleration/

Searching for the right

material/

INTEGRATION/

What about scale?

COMMUNICATION/

Abstracting the lower

plate/

Making the physical

construct an integral
part of the ground/

Studying motion, speed

and deformation/

Semester III/ Gravity at work

Scale is still abstract/

“Gravity, as we see it, is manifested mainly through weight. Once again, it is about communication, about give and take through gravity. In the position we put
ourselves, the model is necessary for our stability, and we play a part in its own steadiness: if me move, the chair moves with us, when we get up, the chair has a life of
its own and moves in a seemingly random fashion.
In our models, we are exploring a limit, an ephemeral state we have modelized into something visible in a larger time frame.

In the new model, we have explored the idea of a chair further: we have given it an orientation to better understand its movement, as well as ergonomy to truly
render it a human-scale experience of gravity. Finally, we have given it higher precision, it is now able to sustain more weight - without taking away the richness of its
current movement, quite on the contrary - , therefore deforming in a controlled environment.

Instead of being subdued by Gravity, we are now protagonists in its story.”

Experimental models/ physical constructs/ conceptual course/

EXPERIENCING x1 x2 x3 x4 y1 y2 y3 y4

GRAVITY/
HUMAN SCALE/
ERGONOMY/

Introduction of scale:
the physical construct
representing ground
becomes a human-scale
chair/

Understanding weight
distribution and stability
limits/

Ideas of comfort and

ergonomy contrasting
with the unstable
appearance/

Disrupting the daily: the

role of perception/

In brief, our journey has started with the idea of extruding ground to create a 3D space where the deformation of ground by gravity could be clearly seen. A block of earth
sliced in half and slid along a rectilinear rail, this was a choice amongst many other possibilites of which we are fully aware. From then on, we applied Aristotle’s aphorism
stating that Nihil est in intellectu quod non prius fuerit in sensu *(nothing exists in intellect, had it not existed in the senses first) , and thus chose to make gravity something
which is really felt and experienced, allowing us to see it in a new light.

With this, the following implications followed: an extension of time, for the eyes to see, an extension of space, for the mind to understand, an extension of scale and propor-
tion, for the human body to become the main protagonist.

Still through the familiar object which is the chair, we have tried to disrupt the daily in order to prove a point: stability exists if you know where to find it. Maintaining an orient-
ed density plan, we have increased the degree of liberty lying within the chair by adding inclined elements which take lateral charges. More possibilities now exist along that
extended time frame we have created which is the ephemeral limit before either collapse or stability.

Here ends the conceptual research. You are about to enter the phase of its translation into a pavilion, an urban installation, if you
will. Instructions were concise: design an urban installation which speaks of gravity at work, conceptually coherent with the first
“physical construct” phase. Choice of site was left to the students, but had to be part of the different hubs suggested by the London
Festival of Architecture.
Gravity at work/ The urban intervention/

Which of our conceptual elements we want to translate/

A reasserted 3-dimensionality
Stretching a time lapse in space and time
A physical experience implicating the visitor
A visual and sensorial differentiation pre and post-impact
Communication amongst the different weights being used
Communication between structure, material, and concept
Physically rendering the idea of the limit between what is stable and what is not
Using perception as the key element/
Allowing an exploration and comprehension of the human body
Contrast between what you see and what you get
Disrupting objects of the daily
Abolishing preconceptions
QVID TVM? What next? Using the element of surprise

Inspiration for the installation/

Peter Eisenman/ House X/

- « Suggesting a psychological void which provokes individual and cultural anxiety and dislocation »
- « Criticize the original forms of Euclidian geometry, the Cartesian spatial grid »
- De-composition
- « Ideas of ruin and decay »
- « They have recognizable aspects but are no longer the same elements »
- « An object resonating with its own being, though inexplicable it may be »

Paint trails describing the movements of the chair

MANIFESTO/ THE IDEAS BEHIND THE PAVILION

“The geometry is born of the distortion of a square plan.

Floor slopes of 5 degrees inside allow a fluid movement
from one platform to the other. The cantilevered structure
lets us combine geometry and efficient use of material
: the angles outside on the extreme parts do not corre-
spond on the interior and exterior.

The roof is seen as an independant element, parallel to

the ground only when the pavilion is on its pivot point,
which theoretically is the perfect state of equilibrium, close
to physically impossible in this case. Through the different
materialization and texture treatment, we try to make it
a « floating object » unifying the different spaces in the
structure.

The structure allows an interaction of the people inside it,

not only amongst each other through their weight and the
respective movements they impose on the pavilion, but
also with the site and exterior elements : the vertical open-
ings are frames, re-interpreting everyday scenes (from the
monumental to the mundane).

Through the contrast between the inclination of

the frames and the stable perpetual verticality of
the surroundings, the human body is brought to
question itself.

Perception is thus put to doubt : reference systems are

blurred.Through the horizontal openings placed promi-
nently on the long axis of the structure, we try to introduce
an idea of a horizon tearing the pavilion apart. The struc-
ture remains visible and we see an object resembling an
extrusion.

We thus connect back to the idea of the chair:

- The extrusion of a volume
- Its deformation through human weight

As for program, we are suggesting an observatory

of the world, through the awareness of one’s role
and place when gravity is at work.”
A wooden structure/ Exploring the capoacities of OSB/ Oriented strand board

14 m

The roof / Wood I- beams/ 60 cm section

9m

A A
Horizontal unity/ Wood top crossbeams/ 2”x4”

Vertical poles/ Wood/ 2”x4” Simplified plan/ 1:133

Interior cladding/ Wood pannels

Horizontal unity/ Wood bottom crossbeams/ 2”x4”

Horizontal cladding/ Wood panels

Complete sectional plan at 1m50/ 1:133

Base/ Crossbeams/ Wood I-beams

Base/ Beams/ Wood I-beams

3m

Horizontal cladding/ Wood panels

Section A-A/ 1:133

Exploded structural axonometric/
The site/

“Torrington Square is a square in Bloomsbury, owned by the University of

London. Demographics consist mainly of students and their entourage.
This is important for us, since we are looking to find a site where social
interaction will be possible. For example a busy street in an industrial
area would not be fit to receive our intervention. “

Site section C-C 1:1333

Site section D-D 1:1333

D D

C Site interaction and study of perception

Overflow/ Introduction and guidelines/

This semester, the studio was divided into 2 groups. The other group continued with individual projects, while us twelve students teamed up to
form the design crew developing the project for an urban installation. The project was to be a continuation of the first semester’s research on
the theme of Gravity, and was meant for EPFL’s contribution to the London Festival of Architecture, to which the ALICE studio was invited. Fast
enough, the great group dynamic transformed our team into a real small scale architecture office. Our roles were different depending on the
phase throughout the semester, but all twelve of us have participated in all the aspects of this process.
Attached to this leaflet is the brochure which was produced at the time by our team.

Overflow/ Phase 1/ Site

“We have chosen to integrate

our installation into the Tower
Bridge Plaza, located next to
city hall. The plaza opens up
onto the Thames, giving a large,

Semester IV/ London festival of architecture/ Urban installation: Overflow/

pictureframe view of the Tower
Bridge and the city of London.
Our choice was based on the
various specificities of this site,
mainly being the proximity with
the Thames and the surroundings
which frame the tower bridge
and create a theatrical setting
for our installation.

As a result of these parameters,

the specific light conditions and
the tide were elements we had
to integrate into our design. The
tide was especially significant
because of its own rhythm and
its disengaged cycle. We were
most interested in using this
untamed force of nature as an Thames
activating trigger for a man-made
controlled construction. Also, it
was interesting to recreate the
lost relationship with the Thames
- it is what the city was built upon
and yet it has been somewhat
forgotten and goes unnoticed
nowadays. The plaza, being
conceived as a residual space,
invites the intervention to invade
it as a whole, and allows us to
work with the ever-changing
natural force which is the tide,
through the six meter drop
provided by the parapet.” Plan view
 JULY 2008
TIME ZONE UT(GMT)

WALTON-- ON-- MARGATE SOUTHEND-- ON-- CORYTON TILBURY NORTH LONDON

THE-- NAZE SEA WOOLWICH BRIDGE

Time m Time m Time m Time m Time m Time m Time m

0327 0.7 0351 0.8 0421 0.9 0433 1.0 0450 1.0 0522 1.1 0556 1.1
1
TU
0944
1551
3.8
0.8
1006
1620
4.3
0.9
1034
1651
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0.9
1044
1702
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1.0
1107
1726
5.9
1.0
1134
1755
6.5
1.1
1157
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1.1
1
TU
2201 4.0 2226 4.5 2252 5.4 2301 5.8 2326 6.1 2353 6.7
0424 0.7 0448 0.8 0522 0.8 0534 0.8 0556 0.9 0628 1.0 0016 6.6
2W 1040
1651
4.0
0.6
1102
1720
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1132
1754
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0.7
1142
1807
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1903
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0659
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0.9
6.6
2W
2301 4.1 2328 4.6 2353 5.7 1935 0.8

0516 0.6 0542 0.8 0616 0.8 0002 6.0 0026 6.3 0053 6.9 0116 6.8
3
TH
1134
1748
4.1
0.4
1154
1816
4.6
0.5
1225
1852
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0.5
0629
1237
0.8
6.0
0653
1258
0.8
6.3
0727
1326
0.9
6.9
0756
1347
0.8
6.8
3
TH
2357 4.2 1906 0.5 1931 0.5 2005 0.6 2034 0.5

0605 0.7 0025 4.7 0049 5.8 0059 6.2 0122 6.5 0151 7.1 0212 7.0
4F 1225
1842
4.1
0.3
0632
1244
0.8
4.7
0706
1316
0.7
5.7
0720
1327
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0745
1348
0.8
6.4
0822
1417
0.8
6.9
0849
1437
0.7
6.9
4F
1910 0.4 1946 0.3 2000 0.4 2025 0.3 2101 0.4 2127 0.3

0051 4.3 0120 4.8 0143 5.9 0152 6.3 0214 6.6 0244 7.2 0304 7.1
5
SA
0652
1314
0.7
4.2
0720
1331
0.8
4.7
0754
1405
0.8
5.7
0807
1415
0.8
6.1
0833
1436
0.8
6.5
0911
1505
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7.0
0938
1525
0.7
6.9
5
SA
1933 0.2 2002 0.4 2037 0.2 2050 0.3 2115 0.2 2150 0.3 2216 0.2

0142 4.3 0211 4.8 0234 5.9 0243 6.3 0304 6.7 0334 7.3 0355 7.2
6
SU
0737
1400
0.8
4.2
0806
1416
0.9
4.7
0839
1451
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0851
1501
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0917
1521
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6.4
0955
1551
0.9
6.9
1022
1611
0.8
6.9
6
SU
2021 0.2 2051 0.4 2124 0.2 2136 0.3 2201 0.3 2234 0.2 2301 0.1

0229 4.3 0259 4.7 0322 5.9 0331 6.3 0352 6.6 0421 7.2 0442 7.1
7M 0820
1444
0.8
4.2
0849
1500
1.0
4.7
0920
1535
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5.6
0932
1545
0.9
6.0
0958
1605
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1034
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1103
1654
0.8
6.8
7M
2107 0.2 2137 0.4 2207 0.3 2218 0.4 2242 0.4 2313 0.3 2340 0.2

0314 4.1 0343 4.6 0408 5.7 0418 6.1 0439 6.4 0506 7.0 0528 6.9
8
TU
0903
1526
0.9
4.1
0932
1543
1.1
4.6
0959
1618
1.0
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1628
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1036
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1140
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6.7
8
TU
2151 0.4 2221 0.5 2245 0.5 2256 0.5 2319 0.5 2348 0.5

0359 4.0 0427 4.4 0453 5.5 0503 5.9 0524 6.2 0550 6.8 0016 0.4
9W 0947
1610
1.0
4.0
1014
1627
1.2
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1036
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1048
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1731
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1143
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0612
1215
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1.1
9W Analytical data was gathered and was crucial for a complete under-
2236 0.5 2304 0.7 2323 0.7 2332 0.7 2355 0.7 1816 6.6

0446 3.8 0510 4.2 0538 5.2 0548 5.6 0608 5.9 0022 0.8 0050 0.6 standing of the site and its potential.
10 1035 1.2 1058 1.3 1116 1.3 1128 1.3 1150 1.3 0635 6.4 0656 6.4 10
TH 1657
2324
3.8
0.7
1714
2349
4.3
0.9
1746 5.1 1757 5.5 1816 5.8 1220
1839
1.4
6.3
1250
1900
1.2
6.3
TH
Most important aspects were tide and light.
0535 3.6 0557 4.0 0004 0.9 0012 1.0 0034 1.0 0100 1.0 0126 0.9
11F 1130
1750
1.3
3.6
1150
1806
1.4
4.1
0625
1204
4.9
1.4
0635
1214
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1.5
0655
1235
5.6
1.5
0722
1304
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1.6
0743
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6.1
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11F
0015 0.9 0042 1.1
1838

0054
4.9

1.1
1848

0100
5.3

1.2
1907

0121
5.5

1.2
1931

0147
6.0

1.3
1952

0211
6.0

1.2
Tide times, cycles, amplitudes, heights and variations had to be mastered
12 0630 3.4 0650 3.9 0719 4.7 0729 5.1 0747 5.4 0815 5.9 0837 5.9 12
SA 1235
1850
1.3
3.5
1255
1909
1.5
3.9
1302
1940
1.5
4.7
1311
1950
1.6
5.1
1330
2009
1.6
5.3
1359
2033
1.7
5.8
1423
2056
1.6
5.8
SA in order to be used as an inherent part of the project. Site section
0112 1.0 0143 1.3 0152 1.3 0158 1.4 0216 1.4 0243 1.5 0307 1.4
13
SU
0732
1346
3.4
1.3
0753
1413
3.8
1.5
0820
1408
4.6
1.6
0831
1416
5.0
1.7
0847
1433
5.2
1.7
0916
1502
5.8
1.8
0939
1525
5.7
1.7
13
SU
1956
0214
3.4
1.1
2021
0247
3.8
1.3
2047
0255
4.7
1.3
2057
0301
5.0
1.4
2117
0317
5.3
1.4
2142
0345
5.8
1.5
2207
0410
5.7
1.5
Similarly, light and its modification by the surroundings were modelised in
14M 0838
1458
3.4
1.2
0858
1525
3.9
1.4
0923
1522
4.7
1.5
0933
1525
5.1
1.6
0951
1539
5.3
1.6
1020
1607
5.9
1.6
1041
1631
5.8
1.6
14M 3D using programs such as AutoCad and Rhinoceros, so that their impact
2103 3.5 2132 3.9 2153 4.8 2202 5.1 2223 5.4 2249 5.9 2314 5.8

15 0313
0936
1.1
3.6
0344
0956
1.3
4.1
0357
1022
1.3
4.9
0403
1031
1.4
5.3
0419
1051
1.4
5.5
0447
1119
1.4
6.1
0515
1139
1.3
6.0 15 on the project could be fully understood.
TU 1557 1.0 1621 1.2 1636 1.3 1634 1.4 1648 1.4 1711 1.4 1740 1.4 TU
2200 3.6 2229 4.1 2251 5.0 2259 5.3 2321 5.6 2348 6.2

Tide data

All dimensions of the surroundings were

estimated from the photographs and other
media material we had at our disposition.
Precise data concerning buildings and other
parts of the direct environment wasn’t gathered
until our physical presence on site months later.
However, our estimations turned out to be within
Light studies
a reasonable margin of error.

Overflow/ Phase 2/ Concept

Our concept remained gravity,
but we took it a step further,
introducing ideas of porosity,
light, and changing perceptions.
Furthermore, the idea of an
installation flooding or invading the
plaza started coming to light, for
example, bringing the movement
of the river onto the land.
Two main projects were born: a
radial project working as a rib
structure which would rise and fall
with the tide,
And a carpet-like structure which
directly translates the movement
of the tide into a wave, gradually
invading the plaza.
Finally, we decided to further
investigate the idea of a carpet,
it being a challenge to find a self-
supported structure.
An even bigger difficulty was
to find the module which could
allow a change in curvature. The
carpet then evolved into a being
which changes from a carpet to
a screen, emphasizing the way
the plaza is conceived, as a void
in the midst of a heavy mass of
construction.

Conceptual collage/ Changing perceptions Conceptual model/ Flooding the plaza

Overflow/ Phase 3/ The ribs
Cardboard model - installation in site, high tide
When parameters grew too numerous,
the project became very dependant on factors
we could not control. We then decided that a
radical simplification was in order, so that we
could go back a step, to the initial concept,
and take a broader look at how it could be
achieved.
We projected a changing landscape,
based on the city of London’s skyline, consisting
of adjacent ribs. These ribs would be divided into
two parts linked together by a joint. The upper
part is always resting on the parapet, whereas
the other needs a rail which can guide its
movement upwards and stabilise the structure.
The idea of accessibility versus inaccessibility
caused by the tide is here translated by the
movement of the ribs which deny access to
the parapet during high tide, but offer a screen
through which to see the opposite bank during
low tide.
It was throughout the development of
this project that the idea of radiality was born.
The two entering points of the plaza were used
to project ribs which are radial in plan, therefore
implicating the bypassers visually and inviting
them to approach the installation.
Cardboard model - installation in site, low tide
This radial disposition allowed us to push further our concept of porosity and changing views: if the visitor is
standing in a position, he can only see through the ribs he is standing in front of. The rest of the installation blocks off
the views of the bridge and the opposite bank. With time, this effect is accentuated because the project moves
with the water and something new is to be seen litterally every second and with the pedestrian’s every move.
Furthermore, the radial plan allows us to play with decelerating and accelerating perspectives, especially
since the ground beneath the parapet is sloped. This has a very interesting effect on the structure since it causes
the water to rise unevenly, and the structure to rise gradually on one side before the other, thus blending the
movement into the surroundings.
Overflow/ Phase 4/ The carpet
As opposed to the rib structure, this carpet-like structure is less of a “safe bet”
design-wise, structure-wise, and especially with the time we were given to produce
the installation. The opening of the festival was to be on June 21st 2008. However
production had to be finished on June 1st in order for us to pass our exams, and go to
London for assembly between two of them. We started the semester in mid-Februray
of that same year, the carpet-concept only came along in end of March, which
didn’t leave us much time for decision-making and production.
The ephemeral aspect of the pavilion, which was to be set up for a short while,
ranging from a couple of days to a month (the entirety of the Festival) depending on
our will, pushed us to opt for the more risky option of the carpet. It consisted of hollow
expanded polystyrene boxes tied together by some kind of a hinge.
As the tide rises, the carpet would deform, invading the plaza like a wave overflowing
from the river. The impressive scale of this intervention allowed us to play with the
idea of perception: as the water rises,the porosity of the “wave” changes, and so
does the visitor’s view of what is behind it - the city of London’s skyline. Furthermore,
it allowed us to modulate light in this little plaza surrounded by elevated buildings.
Structurally, we had to find a replacement for the hinge, because many of these
details were turning this architectural intervention into a mechanical project.
Therefore, we decided to search for a module allowing a change in curvature solely
thanks to its geometry - saving us the trouble of installing hinges on all modules, and
making this variable property inherent to the project.
Overflow/ Phase 5/ Structural detail/ The self supported structure

The geometry of this module allows us to vary the curvature of

our wave without having to change the element, therefore
creating a module which can be repeated. This principle
would have saved us a lot of time in production. However,
structural complications such as weight distribution, statics,
and friction of the material pushed us to radically modify the
design after our presence on site.

Overflow/ Phase 5/ Structural detail/ 1:1 test in situ

It was our first presence on site. It allowed us to see which aspects were successful and which were not. We had, until then, worked solely with digital tools. Being on site
helped us get a better image of scale, proportions, urban impact, etc. Many modifications on design and structure followed.
Overflow/ Phase 6/ Post in situ/ Study models

1:33 - Thin cardboard - weave model. Research on density and structural 1:33 - Cardboard and plastic mesh model. Density
utility research, curvature study.

1:33 - Extruded polystyrene and adhesive tape model. 1:33 - Thick cardboard and thin thread model. Closest
Curvature, joints, and density study, to the final design, curvature and behavioral study.
Overflow/ Phase 6/ Post in situ/ Study models

3.25 pm 4.23 5.21 6.19 7.17 8.15 9.13 10.16 pm

Saturday, July 5th, 2008. Predicted movement

of the structure with tide.

We constructed many study models from different materials such as cardboard, plastic mesh, extruded polystyrene and thick paper. They all behaved
differently but followed a same curvature and fatigue pattern. We learnt to use the imperfections in production and the material’s fatigue as the
elements which will accentuate the desired curvature and movement of the structure instead of trying to overcome them. This decision was very
useful and saved us a lot of time because we had to construct the pavilion ourselves.
Overflow/ Phase 6/ Post in situ/ Reworking design/

Site plan - a radial disposition of the web elements

Structure at low tide. Plan.

Structure at high tide. Plan.

Instead of giving the people
yet another access to the
Thames, we decided to bring
the river onto the land by
translating its movements into
an installation. The plan is de-
fined by the surrounding spot-
light arrangements, urban
planning, and seating area,
as well as the weight distribu-
tion within the structure and
its static soundness.

Structure at low tide. Section. Structure at high tide. Section.

Overflow/ Phase 6/ Post in situ/ Screen properties revisited/

The installation has, in plan, two focal points from which rays diverge, separated by a constant angle, and cross paths in order to create the mesh we
have here. These two focal points are determined by mathematical restrictions - keeping the angles from becoming too small, by production process
considerations - keeping the pieces feasible manually, and finally by the dynaimic perception they entail and the way they implicate the passersby.
There is a third, less perceptible radiality, which is done by making the ribs converge in section towards a same point, corresponding to the bridge
here. This contributes to the screen-like effect we were looking for because it blocks off lateral vision and allows the visitor to focus on what is in front
of him. Since most visitors will be walking past the installation, there is no one privileged point of view, but multiple options for multiple
perceptions for a dynamic reinterpretation of the
iconic background which is the Tower
Bridge and the London skyline.

Unrolled surface in plan/1:66

10 m

View A

15 m

Radial ribs, view A/ 1:133

Overflow/ Phase 7/ Setbacks/

The lack of communication between the LFA and Proposal for the Tate Modern site
our team resulted in us losing the site we were given This site was again to change on the day of the
to build our installation on: the Tower Bridge Plaza, opening of the festival. Instead of building right
beneath the millenium bridge, we decided to
because the Tower Bridge was to be repainted at the move further away in order to have more exposure
same time. to the public. Therefore, we moved some thirty
meters away from the bridge onto a small placette
After many negociations, we were to have a site in front which advances onto the thames. That way, we
of the Tate modern, on the bank opposite Saint Pauls’ kept the theatrical aspect of the older site, while
Cathedral. However, we were only given the written being more exposed. This last site would be the
final site on which we assembled and installed.
authorisation warrant the day of the festival opening,
once we had already built our intervention on the The structure was very well received there, because
it turned out to be a regular place of meeting for
ground, and were waiting to lift it onto the handrail. young people, as well as a daily passage for the
commuter, and a regular area for jogging and
Although our design was very site specific, we cycling. Gradually, the intervention became part
of the scenery, integrating itself unwillingly into the
were able to readapt the intervention to its new then-ongoing Tate Modern exposition on street
environment without having to modify design, mainly art. This site turned out to be better than the site
for which the design was originally developed.
through precise positionning.
Temporary space (1 to 2 days) needed for assembly prior to installation
On a more structural tone, the installation was
designed to have 2/3 of its weight hanging over the
parapet on the river side, to avoid any accidental
tipping over of the structure.
The elements were made of expanded polystyrene,
which is a very economic, ecological and light
material. Set aside its practical properties, EPS was
chosen because of its conceptual coherence with
the project: being set in a very eclectic context where
everything is a certain height, shape, size, and color,
we wanted the intervention to be of universal scale,
something that could be seen from far as not fitting
into its environment. Polystyrene allowed us to achieve
this goal. Installed structure on parapet at high tide Installed structure on parapet at low tide

The cross intersections in plan were constructed by Final location

shaping two U formed elements which interlock.
These 2 elements have 2 holes going through them at
their middle and at their bottom, in order to let ropes
through.
To maintain tension in the structure, we had to use
climbing or sailing ropes which had less than 1%
elongation over time, since the fatigue of the material
was already important enough. This crucial tension was
achieved by using sailing techniques, tying the ropes
going through the ribs to a winch and trying to give
as much tension as the human arm and a boat winch
can give.
Overflow/ Phase 8/ Production/
For us to construct this structure
by ourselves, we had to adopt
rigorous working methods. We
used Rhinoceros to extract the
dimensions we needed once the
design was final and exported
the information into excel
sheets. Every element has 14 to
16 dimensions to be taken, and
there are over 800 elements. This
step of the production process
took a lot of time, despite the fact
that we were able to segregate
the elements into distinct groups
depending on their attributes.
These measurements and
grouping decisions helped us in
the production chain by making it
much more systematic, allowing
us to save time and energy and
to produce faster.

Snapshot of the excel sheet used for production

A partner university of our Ecole Polytechnique Federale de Lausanne, the ECAL (Ecole Cantonale d’Arts de Lausanne), was kind enough to let us use
their vast production labs. These empty rooms were the setting in which the design and production took place. Styrofoam companies also contributed
by giving us a significant discount on all the material. Other building companies let us rent foam cutters for a reasonable price. And last but not least,
our faculty and dean sponsored our production, trip, and installation.

K 27 M 28 M 26
9N

P 24

D 15 N9

N9

Identification of types of elements and patterns - type HV2 mentioned in above excel sheet Layout of elements on polystyrene boards - material economy
 The production itself took 10 days, with
two groups of 6 students working 12 hour shifts,
24 hours a day. The goal was achieved, and
we even had some extra pieces to spare. The
next step would be assembly. The assembly
took 2 days and we were able to test the
structure on a soccer field, where we lifted
half of it ourselves in order to see whether we
would be able to perform on site.
During production, there was a lot of
communication problems between shifts,
between the teaching team and the
students, and between the London Festival
of Architecture Committee and our studio.
This resulted in a lot of last-minute work for the
graphic design team - which I was part of. This
team consisted of myself, and a colleague.
Our task as the graphic design team was to
respond as fast as possible to any requests
requiring computer generated images,
as well as photography and design, and
being able to manage with our production
shift. These tasks were mainly 2 editions of
our “booklet” (final edition attached to this
file), photography, renderings, a sponsoring
proposal and the boards for the London
Festival of Architecture.
STEP 2
According to the type and position of the U
element, the boxes’ edges are cut to certain
angles in order to achieve the desired final
radial disposition. A one-person job, done
with a horizontal foam cutter with 2 adjustable
angles.
Duration: approximately 1.5 minute
STEP 5
Here, a custom-made 60 cm drill on a custom-made rail will
drill the 2 holes in the U. There are 4 to 8 holes to be drilled in a
cross, depending on the length of the U’s. A two-person job,
this is also a very precise and demanding step of the chain.
Duration: approximately 2 minutes
STEP 4
This step is where the box becomes a U. Thanks to the precise
annotations done at step 3, the two angles on the machine
are set by one person as the other prepares the element to
be cut. A two-person job, it’s a very delicate and precise step
which is critical for the stability of the whole structure.
Duration: approximately 3 minutes
STEP 1
Cutting the bounding box of the U element,
according to the biggest dimensions we have
depending on the element. This is done with
one foam cutter, two people to handle the
bulk foam boards (1m x 2m), and thanks to the
layout done through rhino in order to have the
least possible waste of material.
Then, numbering the box with a felt-tip pen
and sending it to the next step of the chain
Duration: approximately 2 minutes
STEP 3
Using the excel sheets which provide angle, type, and
measurements, the U element which, at this stage is still a box, is
sent here to be labeled and for the annotations to be drawn. A
one-man job, this step is important in order to save time in the next
step, and to allow STEP 4 to move faster without having to look at
the excel sheets.
Duration: approximately 2 minutes
STEP 6

This step is mostly about verification: do the pieces correspond

in size and direction? Are they too loose? Have there been any
mistakes in the chain process? Here, the pieces are interlocked
and laid out according to the final design. If a piece is missing
or faulty, it is immediately added to a list of pieces to re-do. A
very important step, it allows us to ensure that no pieces are
forgotten, and that no mistakes go unseen.

Duration: 1 to 2 minutes for a cross, 15 to 20 minutes for overall

inspection.

Final steps were to be made upon

assembly. After the final step of the chain
which consists of inserting the tubes in the
STEP 7
holes, the pieces are laid out where the
structure is supposed to be lifted. It is important The last, simplest yet most demanding step: tubing. In every hole, a PVC tube of a certain diameter and length has to be inserted depending
to study this step well. The structure weighs on the position and size of the element. This is important because it protects the holes from being worn out by the rope going through the
structure.
around 1 ton and moving it after having
assembled it is a very demanding task. Duration: 1 minute per cross.

Therefore, it was important to be accurate
when choosing the direction in which to
start the assembly. The pieces are placed
according to the design, and we start
running the ropes through them. When all
the ropes have travelled in both directions,
we start introducing tension using the winch.
This small but efficient tool is often used on
boats. It is far from being the only sailing
element we have used:
a lot of knots were necessary to link ropes
together, to block tension, and to lift and stabilize
the structure in the end.
Once the tension is in the ropes, a piece of forex
is placed on the tips of the rope to distribute
the tension around the hole in the polystyrene,
because it would otherwise sink in. And then, a
tension blocker is introduced after the forex, and
finally a sailing 8-knot is done, so that the rope
doesn’t slip through the blocker. Introducing
the tension in the ropes is a very demanding
step because the person doing so has to be
quite physically strong in order to introduce
the necessary tension. It is actually a 3 person-
job, especially at night. As one person holds
the winch, another turns the lever, introducing
tension. During that time, a third person, using a
pair of pliers, stops the tension and places the
blockers. During night-time, the person holding
the winch is also responsible for lighting.
Overflow/ Phase 9/ Details

For the first test, the structure was assembled rib by rib. This meant
going through the pieces with the ropes in one direction first, and
then in the other. However, this technique had its flaws because
once the structure was assembled in one direction, it was very hard
to adjust it in the other because of the great deal of tension in the
elements. Imprecisions were then amplified and it became harder
to control the way the structure would bend and move.

However, during the final assembly on site, we decided to introduce

tension in a different manner. First, in the three main ribs of a direction,
and then in the three main ribs of the other, thus creating a fixed
precise cross from which we would introduce tension, starting with
the inner part of the structure and going outwards.
This way, the main ribs which held the most compression and efforts
were the solid foundation onto which we added the other ribs.

The winch used to introduce tension, and the tension blocker.

Another detail to be solved was the part on which the structure was to be set on the
parapet. This joint was a very critical area because of the material’s relative fragility, as
well as the amount of strain it is under, which reaches the maximum at this point.

Our first tests, although partial, revealed a crack in the structure, between the elements,
at the joint with the parapet. We tried to solve it by introducing more tension into
the ropes, however, this only lead to a much more rigid structure without solving our
problem. After testing different methods, we decided to divide the moment onto
many elements instead of just two, thus dividing the space between them.

The simplest and most efficient way we found of doing this was to strap thin but resilient
plywood on each side of the structure. This solution was very satisfactory because it
created a smoother curve and reduced any risks of tearing the rope at the joint.

Partial test - material fatigue and sheer moment

The way the structure was to be attached to the handrail was also of utmost importance. We went
through a big variety of details, from metallic hinges, to hydraulic pressure activated rails, but the
more we thought about it, the more complicated the detail became. It was important for the joint
to allow a movement of the structure without too much friction, otherwise the material would very
quickly deteriorate. At the same time, the movement was to be visible enough to allow a change in
perception. Finally, after many tests, we went once again with the low-tech option, keeping within the
mind-frame of this installation. It was very easy to become too mechanical, which we didn’t want.

The final solution was to attach straps around the elements which happen to be on the parapet.
Since they are already covered by plywood from both sides to reduce tension, the straps wouldn’t
deteriorate the material. Instead, they would simply rest on the wood and attach the structure to the
curved handrail. The shape of the handrail was also very helpful, had it not been curved, we would
have had to redesign another joint.

The weight of the structure being this important - approximately 1 ton - we designed many strapping
points in order to divide the weight along the handrail and not concentrate it in one area. This also
gave more stability to the structure. Twelve strapping points separated by a meter each lay along the
handrail, which was equivalent approximately to the weight of 12 children sitting on the handrail.
Overflow/ Phase 10/ 1:1 test/

1:1 Test
Lausanne
Overflow/ Phase 11/ Final assembly: London Tate Modern/

Packing the elements at the ECAL lab for transportation Ropes - classification and preparation for transport Loading the truck

Assembling the structure before installation

Unloading the packages in London, preparing for assembly

A passerby’s view during high tide A passerby’s view during low tide

View from the Millenium Bridge during high tide View from the Millenium Bridge during low tide
View of the Tate Modern Tower
from underneath the structure.
View of Saint Paul’s Cathedral through a square in the screen
Changing views due to movement of the structure with the waves

“Changing views, altering perceptions of what is considered as iconic”

View of the opposite bank through the structure at intermediate tide

“The materialization of the

evolving screen property” Views of the opposite bank through the structure at low tide
in two different positions
 “Overflow
walkthrough”
The tension introduced
through the winch into
the ropes allowed us to
control the curvature of
the structure despite the
high fatigue factor of
the material: Expanded
polystyrene. Although this
material is very resistant to
uniform compression, the
weight of the structure
was so great that the
fatigue highly influenced
the aspect of “Overflow”
on a daily basis. This was
planned so that, by the
end of the festival, the
structure would have
reached the end of its
life.

The ephemeral aspect

of the intervention was
an inherent part of the
design and choice of
material.

“Overflow” at high tide “Overflow” at descending tide

Overflow/ Phase 12/ Reward

Overall prize awarded to OVERFLOW and the EPFL/ALICE team Best Signpost awarded to OVERFLOW and the EPFL/ALICE team

Out of 5 total awards, we, the Swiss EPFL/ ALICE team, won 2 prizes for the OVERFLOW installation in front of the Tate Modern, next to the Millenium Bridge.
CNC Workshop/ Instructions

ALICE – Digital design and fabrication workshop

February 14 &15, 2008

Russell Loveridge - l apa

Daniel Pokora - AL ICE

This workshop has been prepared to support thecoming semester work of designing and building an “urban
intervention” for the London Biennale. Within this work session we have three fundamental goals:
1. I
2. I II I

3. Learn by doing – work with digital design and CNC fabrication machines to make a FAST, SIMPLE, but
COMPLEX construction.
The overall purpose for this two day workshop isto give the participants experience with these technologies, and some
II of a pavilion or urban intervention at the 1:1 scale.

S chedule:

Thursday: I ntr oduc tion a nd Des ign

10: 00 - Studio - Introduction, discussion, a bit of rhino, and introduction of the project task.
14: 00 - Milling lab - Demonstration of CNC machine, review of the connection between CAD and CAM, details about the
project tasks.
E vening – We will break for diner together, then return to the studio II I I
I

Friday: F a br ic a tion a nd C ons tr uc tion

0 9: 00 II I base, discussion of overall concepts
1 4: 00 II I I
1 6: 00 I

CNC Seminar/ The sitscape

P r epar ation:
- All students should come to the studio with a laptopcomputer loaded with Rhino. If yyou ou ddoonnot
ot hhave
a a
computer of your own, see if you can borrow one for the two day workshop – in thiss wway we
ay w e ccan
an aallll w
work
ork
together in one location.
- We will be working on physical constructions, please dress appropriately (clothes that canngget dirty).
et d ir
- We will be working with powertools, machines and large pieces. It is highly advisable e tthat
h yyou
ou d doon ot w
not ear aany
wear n
jewellery, expensive watches, and other personal items that can be damaged. Students
nts with llong
o h hair,
air, p please
lease
bring something to tie it up.

o allll TThursday
See yyou hu at 10:00
CNC Workshop/ Brainstorming and initial design

The object to be fabricated was born after

a brainstorming session. We needed to think
of something resembling a folly, something
which didn’t need to have a function other
than to please the eye. Out of practicality,
we opted for something we could use, so
that the material wouldn’t go to waste.
Smoking areas, expression walls, shelters
and seats were all considered before we
decided to combine many functions into
one, thus creating the sitscape. The sitscape
is a difform landscape which is born of the
merging of different surfaces and lines. At the
first glance, it resembles nothing. However,
man has learnt to use what is around him in
order to fulfill his needs. If one looks closely
enough at the sitscape, it is possible to see
different areas: a bench, a lounge, a table,
seats, backrests, and whatever you allow
your mind to imagine. This object was meant
to be displayed in front of the architecture
building, and used by whoever passed by
it.
After rationalizing and adapting the design
to the quantity of material we had at our
disposition, we remodelled it again to fit
structural and assembly requirements. It
would be made of transversal boards of thick
OSB, linked together by cable wire or string,
some of the cheapest materials available.

We were divided into two groups to design

the sitscape, each working from a same
section, developing it from one side and the
other. The two designs were then merged
into what was finally decided upon as the
final design.

All was ready to be CNCed, but unfortunately,

our mandatory classes and projects didn’t
allow us to go through with the production
of our design.
CNC Workshop/ Final design
Counter/ bar

Lounge/ seating area

Freeform landscape/ Lounging area

Tabletop

Bench

Final rationalized design of the sitscape - perspective

Continuous rod

Oriented strand
board

Section of the sitscape base

Study themes: Lake Geneva and its ressources - Transportation on Lake Geneva. Study by BASBOUSS Monica, HELD Lila, KROTOFF Aurelie.

I - A brief history of public transportation in Switzerland

Following many technical inno- A few facts

vations such as the crémaillère
(rack), on January 1st 1902, the
first train being part of the Federal
Railroads enters Bern’s train station.
This event marked the beginning
of the railroads as part of public
transportation. The Swiss railroad,
all companies considered, cov-
ers around 20 300 km. It’s the most
dense of all european railroads.
However, trains remain a means
of transportation which require a
costly and researched infrastruc-
ture which very much depends on
the preexisting environment.
- In 1823, Switzerland’s first steamboat, the Guillaume Tell makes its first ap-
pearance on Lake Geneva.
- In 1873, the CGN (Compagnie Generale de Navigation) is born of the fu-
sion of 3 sailing companies.
- Gradually, steamboats and sailing will become as important as trains and
the railways.
- The CGN’s territory, Lake Geneva, is an infrastructure which costs 0 francs
(to navigate and use) and no workforce (to construct), as opposed to the
railways.

“Le Leman des Ingenieurs”: a study on Lake Geneva/

II - Sailing on Lake Geneva - the beginnings

Sailing was most popular on

Lake Geneva during the “Belle
Epoque”, corresponding to the
times before World War I, where
the french bourgeoisie came as
tourists or immigrants and owned
many boats.
From World War I onto World War
II, the turmoil had a big impact on
sales of steamboats, and on sail-
ing activities in general on Lake
Geneva.
Sarting 1943, sailing was aban-
doned as a leisure activity and be-
came more of a public service.
 III - A parallel social and demographic evolution

After the sedentarization of the majority
of the European population, nowadays
we can easily observe the reapparition
of a frequent mobility pattern. However,
when we adapt these observations to
the current context, we are faced with
the concept of commuting.
Commuting is different from nomad-
ism in the sense that it concerns people
having to take one or more means of
transportation between their home and
their work place.
in Switzerland, mainly in the area of the
city of Lausanne.
A map of Lake Geneva showing the most used CGN lines and the company’s landing jetties.
The 2002 agreement between France
and Switzerland allows free movement
of people and the right to undergo in-
dependent activities.
Consequently, there has been an in-
crease of 18% in the number of com-
muters between March 2001 and March
2006. Today, the CGN accounts for1.3
million passengers a year, most of which
belong to estival tourism.

In our case, we take the example of As a fact, 700 commuters are regular us-
commuters living in Evian and working ers of the Evian-Ouchy (Lausanne) line.

IV - Transportation on Lake Geneva : Why?

What has been driving commuters to The price of fuel has also been increas-
choose an alternative means of trans- ing.
portation to cross the Swiss-French bor-
der? 60% of the trips are for business.

The road traffic across the Swiss-French 20 000 persons cross the border daily for
border has been increasing at a very business reasions, 88.1% of which use pri-
high speed since a few years, mainly vate means of transportation.
because of the 2002 agreement.

V - Transportation on Lake Geneva : The CGN’s mission

The CGN is the only public transporta-
tion company which uses Lake Geneva
as a means of transportation.
Private boats exist, however the CGN
has a higher priority while sailing the
Lake and has lower fares. It is thus more
popular than other smaller sailing com-
panies around Lake Geneva.
The CGN states its mission to us during
our interview:
- To perpetuate the transportation of the
passengers
- To encourage the alternative transpor-
tation which is sailing in response to the
difficulties arising in road circulation.
- To reply to the demand of the French
living by the border and working in Swit-
zerland.
To be competitive with the road, it was
necessary to acquire new and fast
boats, which is why the CGN orders the
NAVIBUS. These boats allow crossing
the Lake at the height of Evian - Ouchy
(Lausanne) in 17 minutes, which is twice
as fast as the older boats.
The NAVIBUS are reserved essentially to
the commuters’ public transportation,
with a capacity of 120 persons, and a
sailing speed of 50 km/h.
Current ecological studies show that
using these boats are far more energy
efficient than cars in respect to the dis-
tance they have to travel and the speed
they are limited to.
The CGN has started to transform
this means of transportation into the new
subway system where taking a boat be-
comes as simple as taking the tube or
the bus.
In order to achieve this kind of simplicity,
the number of landing jetties is being in-
creased, as well as the number of boats
and the number of times they pass at a
certain landing point.
Furthermore, people can now subscribe
to a certain offer which facilitates the
use of the boats to cross the Lake.
However, there are still quite a few mod-
ifications to be made in order to make
boats as practical to use as the sub-
way.
In this effort, changes are being
applied to the coast, where we see the
landscape, infrastructure, and architec-
ture undergo many modifications.
 V - Transportation on Lake Geneva : impact on architecture
Setting up additional shuttles on
the coastline implies that the infra-
structures receiving these boats,
the installation of the harbors as
well as the parking lots welcoming
the cars of the passengers should
meet this increase in the flow of
arrivals.
When we compare a train station
to a jetty, we notice that several
services are again at a very primi-
tive stage.
For example, tickets and sales are
still managed by a reduced per-
sonnel.
VI - Transportation on Lake Geneva : limitations
The study conducted by MIS-trend,
given to us by the CGN director,
M.Soret, informs us that:
- The schedules of departure of
the boats are the main reason for
which of commuters refuse to trav-
el by boat, with an importance of
65%
- Next comes the accessibility to
the work place from the jetty (How
many other means of transporta-
tion are to be used once the per-
son arrives to the jetty) with 56%.
- The price as well as the ecologi-
cal consequences on fishing and
the coast are issues on which the
travelers are dissatisfied.
- Paradoxically, the comfort on
the boat comes in last with 4%.
Nevertheless, Mr. Soret assures us
that practically, the comfort on
the boat plays a big role.
This means of transportation is well
behind when compared to the
railway system, buses, subways,
etc.
Furthermore, parking lots are also
limited in size, and one can’t find
24-hour services like one would in
a train or subway station. These
simple and yet very useful servic-
es could be at the root of what is
discouraging people from using
boats to cross the Lake.
The CGN is not without plans for
the future. However, they depend
a great deal on sponsorships,
loans and grants from the differ-
ents Swiss districts.
This delay in development can be
explained by different factors:
- The technical developments in
the naval field (influencing sched-
ules and number of trips per day)
- The financing of a project under
development is necessary for its
progress but is also very hard to
achieve.
- The absence of a direct com-
petitor has as a consequence a
diminished incentive to progress.
- Considering transportation on
Lake Geneva as a complemen-
tary means of transportation and
not as an independent entity.
This means of transportation is well
behind when compared to the
railway system, buses, subways,
etc.
This delay in development can be
explained by different factors:
- The technical developments in
the naval field (influencing sched-
ules and number of trips per day)
“Most - The financing of a project under
development is necessary for its
progress but is also very hard to
commuters achieve.
choose - The absence of a direct com-
petitor has as a consequence a
to take diminished incentive to progress.
- Considering transportation on
the boat Lake Geneva as a complemen-
tary means of transportation and
to go not as an independent entity.
This means of transportation is well
to work behind when compared to the
railway system, buses, subways,
because etc.
This delay in development can be
of the explained by different factors:
- The technical developments in
safety the naval field (influencing sched-
ules and number of trips per day)
versus - The financing of a project under
speed development is necessary for its
progress but is also very hard to
achieve.
factor”
- The absence of a direct com-
petitor has as a consequence a
diminished incentive to progress.
- Considering transportation on
Lake Geneva as a complemen-
tary means of transportation and
not as an independent entity.
However, there are also reasons
for which a loyal segment of pas-
sengers is growing. Most commut-
ers choose to take the boat to
go to work because of the safety
versus speed factor. Gradually, a
group of accustomed commut-
ers is beginning to form. This group
consists of the same people who
take the first and last boat to and
from work. After a very interesing
discussion with the CGN secretary,
Mrs. Guillot, who is also a commut-
er from Evian, we learnt that this
small group of around fifty com-
muters have grown to know each
other through their commuting
trips on board the CGN boats.
Could this be the birth of a new
social phenomenon?
 In order
to better
understand
the
information
we were
given, we
decided to
take a trip on
the last boat
going from
Lausanne
(Ouchy) to
Evian, along
with the
commuters.
As you can
see, most
people are
working, are
in uniform,
and, as
expected,
1% are
tourists.
Photography/
Dubai 2008
Lebanon 2008
Venezuela 2008
Lausanne, Switzerland Ivrea, Italy

Lausanne, Switzerland
Art/
First year assignment - study and axonometric view of decomposed object, freehand, pencil
First year assignment - geometry, shade, and projection studies (combination with our descriptive geomtery course, freehand, pencil/ white chalk.
First year assignment - texture, recomposition of images and reinterpretation study, based on the work of Piranese, freehand, pencil.
Second year assignment - texture, framing and shadow study, freehand, pencil.
Second year assignment - texture, framing and shadow study, image reconstruction. Inspired from the movie The Hustler. Freehand, pencil.