is born (and stuck) in 1994, Arch. Dipl. 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.


is born in 1995, Arch. Dipl. 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.

Is educated in architecture, but active in all creative fields.
Uses what's already there, before adding what's needed.
Believes in powerful, yet modest gestures.
Prefers to modify, rather than to create.
Researches architecture's constructions.
Deconstructs norms and behaviors.
Narrates unforeseen stories.
Avoids aseptic genericity.
Interprets pop culture.
Works seriously with fun, and is funnily serious.
Prefers to imaginatively fail, rather than to boringly succeed.
Has an e-mail adress:
Is on instagram:
Is also a design gallery:
Moratorium, the movie.
Lausanne, CH
Bastian Marzoli
Prix SIA Vaud 2021
Lausanne, CH
Bastian Marzoli
Prix SIA Vaud 2021

Architecture, of any kind, always shares a constant: it responds to growth.

A growth, in population, in production (and therefore consumption), in the economy, in culture, in faith and wealth, et cetera. Inevitably, architecture is the result of the need to house more interactions between an ever- growing number of human beings.

In a time when we slowly realize that exponential growth can only lead to a global disaster, what should architecture become? Is there still sense in it, knowing that it becomes morally reprehensible to design new buildings?

The project confronts the question of a moratorium on new architecture and explores how, through micro-densification, our generation of modifiers can invest the existing in a qualitative way thanks to a thickening of the psychic and physical borders between users; in order to develop spaces that gain in depth without extending in surface.

The project invests the cracks and abandoned volumes of a block where several protagonists with disjointed histories, from different times and intentions, meet. It takes on the role of a constructed narrative that finally links a forgotten cinema, a zany church, surviving bourgeois, a modernist tower and a solitary park, against the backdrop of Lausanne's typical topography.

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