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10 for 1
Reflections on
Vers une architecture - Le Corbusier
Edited by Stefano Ferracini
Architecture is not just the design of buildings; it is a privileged lens through which to observe and interpret the world. It is a constant dialogue between theory and practice, between the physical dimension of space and the intangible realm of ideas.
This book stems from the need to outline reading paths that guide students, enthusiasts, and professionals in exploring the multifaceted nature of architecture through books.
It is also an experiment, an attempt to understand how contemporary tools — from artificial intelligence to self-publishing — can enhance, simplify, and enrich a text. It is not an exhaustive or academic manual, nor does it aim to be a definitive work. Instead, it is an accessible and stimulating invitation.
Designed for those approaching architecture for the first time, for those seeking guidance through fundamental texts, or for experts wishing to delve into theoretical perspectives in a straightforward and engaging way.
03/07.02.25 Workshop forum Jean Cosse ESA / Saint Luc Bruxelles
03/07.02.25 Workshop forum Jean Cosse ESA / Saint Luc Bruxelles
Drawing and Technology in Architecture, Interior Design and Interior Architecture (BAC 1)
From space to conviviality
The theme of the week will be to find solutions to develop and animate internal common areas, including the area located on the ground floor, just after the entrance. This space, currently dark, cold and without a clearly defined function, is currently limited to a few waiting chairs.
The objective is to give life back to this space by integrating relevant functions, conducive to usability. Students, divided into groups, will have to analyze the space.
This analysis will include two components: a measure and a survey of users (ESA st-Luc Bxl, ERG, Saint-Luc workshop and Saint-Luc Institute) to define needs. It will also be necessary to take into account that this space will be open to the general public at certain times of the year (Heritage Days, artists' courses, public conferences), which requires thinking about a wider use than that reserved for students.
During this week, in addition to the teachers of the different options, architects, researchers, anthropologists and photographers will be present to develop and deepen the theme. Among the speakers:
Brigitte de Groof, architect who collaborated on the Forum project.
Olivier Cornil, photographer who will accompany the analysis of the site.
Sophie Dars, architect and critic, who will develop architectural analysis and research.
Stéphanie Mahieu, anthropologist, who will deepen the aspects related to the human and the interaction with brutalist architecture.
Véronique Almeida Cruz, historian, who will focus on researching the historical aspects of furniture and design in public spaces.
Giorgio and Simone Zenoni, accompanied by Basilia Barcella, Italian architects who will bring their practical experience in architecture. In particular, Giorgio Zenoni, contemporary of Jean Cosse, studied architecture in Saint-Luc Brussels in the 1950s.
First Exhibition (Block 1) at M30, Brussels
The work from various courses (Block 1) ESA SAINT LUC BRUXELLES will be exhibited at M30 from July 2nd until September 8th, 2024.
The M30 exhibition space is open from Monday to Friday, 8:30 a.m. to 6:00 p.m., with free entry.
Coordinated by Stefano Ferracini
Houses like me - Italian intellectuals and domestic spaces in Italy by Roberto Zancan.Introduction by Stefano Ferracini / Danielle Leenaerts
But how do these people, these " Human, All Too Human" actually live in their homes? Which architects do they turn to for their home projects, what do they ask and what do they get? Although these projects are asked of famous architects (Gae Aulenti, Osvaldo Borsani, etc.) and occupy important moments in the career of these characters, such examples have never been taken into consideration by the history of architecture. Difficulties in visiting these places, a sense of privacy, an intention to hide one's domestic place or simply disciplinary ignorance have forgotten these places.
Other Houses Like Mine was conceived by Roberto Zancan and realized in collaboration with Gabriele Cirami. Gabriele Cirami curated the exhibition, handled all aspects of the production of the book materials, and participated in the interviews. The authors of the interpretive essays also took part in the interviews. Stefano Ferracini and Danielle Leenaerts coordinated the production with Olivier Moulin and Germain Papillon, teachers in Graphic Design at Esa Saint-Luc Brussels, as well as with the school's administrative staff, concerning both the book and the exhibition.GENERAL MANAGER: Danielle Leenaerts COORDINATION: Stefano FerraciniACKNOWLEDGMENTS: Marcel Zmek, Hester Calkhoven, Pin Schuurman, Rosanna CacioThis project was made possible thanks to the contribution of the FiPA-ESA fund, Wallonia-Brussels Federation (FWB).PublicationUNDER THE DIRECTION OF: Roberto Zancan GRAPHIC DESIGN AND LAYOUT: Brush (graphicdressers) PRINTING: Laurent Mbaah BINDING: Corinne Clarysse ESSAYS: Antonello Frongia, Luigi Guizzardi, Nina Artioli, Giulia Ricci, Giovanni Comoglio INTERVIEWS WITH: Dante Ferretti, Marco Loporfido, Anna Zoppo, Antonia Berto, Gabriele Mastrigli, Giovanna Buzzi, Dante Bini, Pépita Isetta, Anita Eubank, Neil Jackson ARCHIVE IMAGES: Archivio Gae Aulenti, Dante Bini, Craig Ellwood Collection – ENV Archives Cal Poly, Marco Loporfido, Anita Eubank, Neil Jackson, Lino Barone, Antonia Berto TRANSCRIPTION: Clara Mazzetti FRENCH TRANSLATION: Danielle Leenaerts
Houses like me - Italian intellectuals and domestic spaces in crisis. 08 mai - 07 june 2022
Exhibiton at ESA Saint Luc Brussels by Roberto Zancan Gabriele Cirami. Coordination by Stefano Ferracini
What was Pier Paolo Pasolini's refuge like? What rooms did Lucio Fontana live in? Where did Luca Ronconi have lunch? Why does Craig Ellwood prefer the Tuscan countryside to Californian Case Studies? These and other questions are the starting point for the exhibition on the interiors of influential intellectuals, artists and architects in Italy in the 1970s and 1980s. This exhibition is part of a larger research project aimed at studying crucial interiors in the history of Italian architecture and their influence. The goal is to rewrite the history of the discipline through relevant individual events and projects.AUDIO-VIDEO PRODUCTION AND EDITING: Tommaso Cirami, Louise Bernatowiez PHOTOGRAPHY: Filippo Romano, Dino Pedriali GRAPHIC INTERPRETATIONS: HPO
Exhibiton at ESA Saint Luc Brussels by Roberto Zancan Gabriele Cirami. Coordination by Stefano Ferracini
What was Pier Paolo Pasolini's refuge like? What rooms did Lucio Fontana live in? Where did Luca Ronconi have lunch? Why does Craig Ellwood prefer the Tuscan countryside to Californian Case Studies? These and other questions are the starting point for the exhibition on the interiors of influential intellectuals, artists and architects in Italy in the 1970s and 1980s. This exhibition is part of a larger research project aimed at studying crucial interiors in the history of Italian architecture and their influence. The goal is to rewrite the history of the discipline through relevant individual events and projects.AUDIO-VIDEO PRODUCTION AND EDITING: Tommaso Cirami, Louise Bernatowiez PHOTOGRAPHY: Filippo Romano, Dino Pedriali GRAPHIC INTERPRETATIONS: HPO
16:45–18:00 03 December 2019 HEAD GenèveStefano FerraciniProfessor, ESA Saint-Luc, Brussels, BelgiumThe cube: abstraction of a three-dimensional object through orthogonally generated complex space. This exercise offers first-year Interior Design students the opportunity to experiment with space and its dimensions, as conceptualized by the most important artists and architects of the first half of the last century. It involves managing constraints through coherent composition, abstracting a real object, and integrating it within a three-dimensional space. Additionally, it teaches students how to transcend a concept and construct a tangible, perfect object. Through this meta-project, students gain their initial exposure to the essence of interior design.
"The monuments are inhabited." Workshop ESA Saint Luc Brussels November 2022 Véronique Almeida Cruz / Stefano FerraciniThe questioning of certain monuments from our past is gradually taking place in our streets. Demonstrations occur, relocations happen, statues are toppled... These monuments were representations of a time of prosperity, abundance, and carefreeness for Belgium
Freedom: Philippe Hunt, philosopher and philologist, graduated from the Free University of Brussels and Yale University (New Haven, Conn.). Philippe Hunt he is an honorary professor of literature and philosophy at the Royal Academy of Fine Arts in Brussels. His interests include literary theory (Russian formalism) and deconstruction (between Derrida and De Man), the multiplicity of languages, and the untranslatable.Monuments in Brussels: "The Place of Monuments in Brussels, Chance or Necessity?" by Stéphanie Lannoye. Stéphanie Lannoye is an archaeologist and art historian specializing in architectural history. As a tour guide, she raises public awareness about artistic heritage as well as architectural heritage and its integration into urban fabric. She also works as a coordinator at the Solvay Hotel.Conservation/Evolution/Society/Decolonization: "A Debate with Christophe Mouzelard" by Christophe Mouzelard, art and architectural historian specializing in contemporary times. He participated in the architectural inventory and historical elevator survey in Brussels and is the editor of the Natrimoine magazine.Urban Sculpture: "The Work of Jean François Octave," sculptor/artist. He is a draftsman, painter, and architect. In 1986, he represented Belgium at the Venice Biennale. Since then, he has exhibited in Brussels, New York, Copenhagen, Caen, Paris, and has created numerous works integrated into public spaces.Symbolism/Visual Art/Urban Art/Street Art: "Street Art with Caroline Vercruysse." Caroline Vercruysse manages the non-profit organization "Fais le trottoir," which offers guided tours and interventions on graffiti, street art, and art in public spaces. In 2013, she co-directed the documentary "Mauvaises herbes" with Catherine Wielant.
Freedom: Philippe Hunt, philosopher and philologist, graduated from the Free University of Brussels and Yale University (New Haven, Conn.). Philippe Hunt he is an honorary professor of literature and philosophy at the Royal Academy of Fine Arts in Brussels. His interests include literary theory (Russian formalism) and deconstruction (between Derrida and De Man), the multiplicity of languages, and the untranslatable.Monuments in Brussels: "The Place of Monuments in Brussels, Chance or Necessity?" by Stéphanie Lannoye. Stéphanie Lannoye is an archaeologist and art historian specializing in architectural history. As a tour guide, she raises public awareness about artistic heritage as well as architectural heritage and its integration into urban fabric. She also works as a coordinator at the Solvay Hotel.Conservation/Evolution/Society/Decolonization: "A Debate with Christophe Mouzelard" by Christophe Mouzelard, art and architectural historian specializing in contemporary times. He participated in the architectural inventory and historical elevator survey in Brussels and is the editor of the Natrimoine magazine.Urban Sculpture: "The Work of Jean François Octave," sculptor/artist. He is a draftsman, painter, and architect. In 1986, he represented Belgium at the Venice Biennale. Since then, he has exhibited in Brussels, New York, Copenhagen, Caen, Paris, and has created numerous works integrated into public spaces.Symbolism/Visual Art/Urban Art/Street Art: "Street Art with Caroline Vercruysse." Caroline Vercruysse manages the non-profit organization "Fais le trottoir," which offers guided tours and interventions on graffiti, street art, and art in public spaces. In 2013, she co-directed the documentary "Mauvaises herbes" with Catherine Wielant.
"The Talking Chairs" is an interdisciplinary workshop focusing on drawing and graphic representation. The drawings were created by first-year Interior Design students during a one-week interdisciplinary workshop from February 7th to 11th 2023 Esa Saint Luc Brussels
While the theme of this interdisciplinary workshop explores various approaches to drawing - including observational and expressive drawing, drawing plans using both traditional and computer tools, and 3D computer drawing - the focus is on the folding chair, a specific piece of furniture closely related to the option. These folding chairs were found in common yet varied models, each one unique in its proportions, shapes, folding principles, and details.
The workshop was organized by teachers from Color and Design, Architectural Drawing, Expressive Drawing, Computer Graphics, and Art History departments.
Graphic Communication for Spatial Art January 2023Exhibiton at ESA Saint Luc Brussels by Stefano Ferracini / Paul RogerSelection of works by Bachelor students in Spatial Art aims to demonstrate, through various graphic techniques, how to effectively communicate a project in the field of architecture.Starting from hand-drawn sketches and graphic diagrams, through collage techniques or photomontage, and up to realistic three-dimensional representation, students from different years and options are introduced to and learn the most appropriate techniques for communicating their spatial art project.Computer drawings are created using specific graphic programs for architectural representation, while hand-drawing techniques are more varied and adapted to each student's skills.
❤️ My first article published in the prestigious web architecture magazine Arch'it in 2002!
The Arch'it website emerged as the first platform for architectural critique in Italy. During that period, I authored my initial published article, focusing specifically on the work of João Álvaro Rocha.
With great discretion, João Álvaro Rocha presents himself in this monograph. Here, you can observe the most significant projects of a brief but intense journey that has led Rocha's work to delineate part of the intricate and controversial design now defined as Portuguese contemporary architecture. It is the result of a silent, nocturnal work, amidst the soft light of a Naska Lux lamp and numerous scattered sketch papers on a drafting table; it is not by chance, in fact, to come across Rocha, solitary at any time of day, intent on finalizing a detail or carefully considering how to resolve in the "simplest" way the complex compromises inherent in the project's tectonics. Jose Manuel Pozo, in his introduction to the text, seems to interpret Rocha's gestures: silent, calm, seemingly simple. Respecting the territory and recognizing the leading role of the place form the premises of an activity that always seems to be inspired by anonymity. The project seeks to blend in and become part of the landscape through the use of locally sourced materials. The details are simple but effective, and the overall design appears devoid of strange novelties and virtuosities, in perfect harmony with the context.
The Arch'it website emerged as the first platform for architectural critique in Italy. During that period, I authored my initial published article, focusing specifically on the work of João Álvaro Rocha.
You can find the article here
With great discretion, João Álvaro Rocha presents himself in this monograph. Here, you can observe the most significant projects of a brief but intense journey that has led Rocha's work to delineate part of the intricate and controversial design now defined as Portuguese contemporary architecture. It is the result of a silent, nocturnal work, amidst the soft light of a Naska Lux lamp and numerous scattered sketch papers on a drafting table; it is not by chance, in fact, to come across Rocha, solitary at any time of day, intent on finalizing a detail or carefully considering how to resolve in the "simplest" way the complex compromises inherent in the project's tectonics. Jose Manuel Pozo, in his introduction to the text, seems to interpret Rocha's gestures: silent, calm, seemingly simple. Respecting the territory and recognizing the leading role of the place form the premises of an activity that always seems to be inspired by anonymity. The project seeks to blend in and become part of the landscape through the use of locally sourced materials. The details are simple but effective, and the overall design appears devoid of strange novelties and virtuosities, in perfect harmony with the context.
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