detritus.

is born (and stuck) in 1994, MSc Arch. EPFL (2021).

Navigates between art, architecture, illustration, furniture and web design. Tries to be imaginative no matter the field.

Develops "Moratorium." as a personal approach since 2017, researching ways to conceive an architecture that solely develops within existing buildings.

Hands-on, always happy to leave the screen and hop into modification work.

Collects swatches and dvds, amongst other objects considered as obsolete today.

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is born in 1995, MSc Arch. EPFL (2021).

Deeply invested in the social and theoretical aspects of architecture, always trying to materialize theories into meticulous models and drawings to bridge the gap between physical and mental production.

Especially interested in the way space constructs gender and identities.

Fascinated by Swiss post-modern design and mineral patterns.
Collector of shiny raincoats and other weird things like PEZ distributors and Harry Potter Legos.

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Is educated in architecture but active in all creative fields.
Uses what's already there.
Works seriously with fun and is funnily serious.
Prefers to imaginatively fail rather than to boringly succeed.
Knows a little and always tries to learn a little more.
Has an e-mail adress:
info@detritus.ch
Is on instagram:
d.e.t.r.i.t.u.s
Is also a design gallery:
www.detritus.ch
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Escamotages
05/2021
EPFL Campus, Archizoom, Project Room, Ecublens
Bastian Marzoli, Claire Logoz

Tacitly making reference to the technological floors imagined by Italian collectives in the 1960s, the project proposes a new 21mm thick floor from which furniture, uses and performances emerge. Technology and digital technology are replaced by the body; space is activated by gesture.

The choice of material - wood covered with a layer of phenolic resin coating - evokes the stage while the escamotages recall the imaginary of the backstage, translating the duality of the project's program, which hosts both formal performances in the form of lectures and exhibitions, as well as everyday student scenes.

The escamotages allow very pragmatic partitions of the space and precise usual scenarios, but above all they have the potential to inspire scenographies coming out of a new imagination. Finally, this new floor also knows how to make itself invisible and silent.

This proposal is translated by a layout that responds to the different dynamics of the site. The panels are sometimes connected by hinges, so that they can be lifted, tilted, and immobilized thanks to strange objects, the blockers.

The blockers are split, irregular volumes, which can be freely arranged and diverted in space, but also be combined to the thinness of the panels by becoming stakes.

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