Portfolio | January 2014 (English)

Francisco costaPortFolio

Francisco costaPortFolio

Francisco costa | architect

January 2014

Flat 5. conder house. 50 newton road. n15 4PJ london. united Kingdom

avenida helen Keller n11 6B, 1400-197 lisBon, Portugal

+44 740 456 5589 | +351 918 470 798 | +351 213 620 741

[email protected]

2FFrancisco azevedo mendes Pereira costacurriculum vitae

Extra-Curricular Education

2012

2011

2011

2010

2009

2008

2007

2006

2005

7 Seminrio Internacional da Escola da Cidade - Tiquatira 2, Escola da Cidade, So Paulo, Braszl | Tutor: Elisa Valero, Isabel Abascal

Photography Workshop, ClickLight, Lisbon, Portugal

Architecture [In] ]Out[ Politics, Lisbon Architecture Trienal

AICO - Architecture International Congress at Oporto, Darco Magazine | Jofebar

Swissport09, Casa da Msica, Oporto

IX Seminrio Internacional de Arquitectura | Connections, DA/UAL | Tutors: Valerio Olgiati, Tamara Olgiati

7. Internationaler Architecture Sommer Workshop Wrzburg, Stadbau Wrzburg | Tutors: Juhani Karanka, Rainer Gumpp

IV Taller Internacional de Arquitectura Imitacon y experiencia, UNIA | Tutors: Pierluigi Salvadeo, Zecca Gianluca

Para-Arquitecturas 3 Seminrio Internacional de Projecto, FA/UTL | Tutors: Pedro Burgaleta

2007 | 2009

2004 | 2007

Masters in Architecture, Universidade Autnoma de LisboaGraduation Grade: 18 out of 20.Average Course Grades: 16 out of 20.

Undergraduate Dregree in Architecture, Universidade Autnoma de LisboaAverage Course Grades: 15 out of 20.

Education

Advanced

Intermediate

Basic

ArchicadAdobe PhotoshopCorel Paint Shop ProGoogle SketchUp + VrayAdobe IndesignAutocadCinema 4D + VrayRhinoceros + VrayArtlantisAdobe DreamweaverAdobe FlashAdobe IllustratorAdobe Premiere

Used to work with Microsoft Office tools Windows and Mac OS environment

Informatic Skills

NativeFluentBasic

PortugueseEnglishSpanishFrench

Language Skills

28.02.1986 Portuguese 12977933, 29.10.2007 Lisbon Avenida Helen Keller, n 11 6B, 1400-197 Lisbon, Portugal Flat 5. Conder House. 50 Newton Road. N15 4PJ London+351 213 620 741 +44 740 456 5589 | +351 918 470 798 B, L-1874240, 16.06.2004

Date of Birth Nationality ID card Address PortugalAddress UKTelephone Cell phone Drivers License

[email protected] francisco.amp.costafacebook.com/francisco.amp.costalinkedin.com/pub/francisco-costa/49/442/b47

EmailSkypeFacebookLinkedin

3worK exPerience2011 | 2013

2013

2012

Itacolomi Building, So Paulo, Brazil | Model Apartment | Under ConstructionConstruction Documents Revision, Construction Administration - Site visits and meetings with clients, contrac-tors and suppliers to select materials and finishes.

Ponto Frio Concept Store, Brazil | Under DevelopmentDesign Development

TEOMP Office Building, So Paulo, Brazil | Interior Design - Entrance and Lift Lobbies | Under ConstructionConstruction Documents Revision, Construction Administration

Sanso Alves Office Building, So Paulo, Brazil | Interior Design - Entrance and Lift Lobbies | Under ConstructionConstruction Documents Revision, Construction Administration

Odebrecht So Paulo Building, Brazil | Interiors Design - Restaurant and Cafetaria | Under ConstructionConstruction Documents Revision, Construction Administration

Architect | Atelier Daciano da Costa - Ana Costa Design | So Paulo, Brazil

2012 Ponte dos Remdios Blocks (Achitecture: Marcos Acayaba with H+F Arquitetos), So Paulo, Brazil | Under ConstructionTechnical Design - F Block Construction Documents, 3D Model

Rio 2016 Olympic Golf Course Headquarters , Brasil | CompetitionConcept Design - Project Coordination, 3D Model, Images, Drawings

Yonhap Complex, So Paulo, Brazil | Under Development Developed Design - Participated in the Design Team, Drawings, Models 1:200 and 1:50, 3D Model, Images

Architect | H+F Arquitetos (Hereu+Ferroni) | So Paulo, Brazil

2011 Funchal Harbour West Sea Front Conversion, Portugal | BuiltConstruction Documents Revision

FACIM, Maputo, Moambique | CompetitionConcept Design - Research, Conception, Model, Drawings

Rio 2016 Olympic and Paralympic Park, Brazil | Competition, 3rd PlaceConcept Design - Participated in the Design Team, Models, Images, Diagrams

Amanduna Hotel - Aman Luxury Resort, Comporta, Portugal | Under ConstructionConstruction Documents - Drawings

Santa Filomena Hospital, Coimbra, Portugal | CompetitionConcept Design - 3D Model, Images

Grand Stade de Casablanca, Marrocco | Competition, 2nd PlaceConcept Design - 3D Model, Urban Plan, Diagrams

Passeio Ribeirinho do Seixal, Portugal | Under DevelopmentConstruction Documents - Drawings

Internship (IEFP) | Risco, SA. | Lisbon, Portugal

42010 House in Luanda: Patio and Pavillion, Luanda, Angola | Competition, Shortlisted FinalistConcept Design - Participated in the Design Team, Models, Images

Architect | RCJV - Ricardo Carvalho+Joana Vilhena Arquitectos | Lisbon, Portugal

Morgadio da Calada Hotel, Provesende, Portugal | BuiltDeveloped Design - Drawings, Models, Images

Lima de Freitas School Refurbishment, Setbal, Portugal | BuiltConcept and Developed Design - Participated in the Design Team, Drawings, Models, Images

MUDE - Design and Fashion Museum, Lisbon, Portugal | BuiltConcept and Developed Design - Participated in the Design Team, Drawings, Models, Images

2009

Sebastio da Gama School Refurbishment, Setbal, Portugal | BuiltConcept and Developed Design - Participated in the Design Team, Drawings, Models, Images

2008

AMI Headquarters, Cascais, Portugal | CompetitionConcept Design - Participated in the Design Team, Drawings, Models, Images

2007

2010 New UGM Maribor, Eslovnia | Competition, 3rd PlaceConcept Design - Participated in the Design Team, Drawings, Models, Images

Architect | PLCO Arquitecto | Lisbon, Portugal

2011 Open Ideas Competition: Bab al Bahrain, Manama, Bahrain | CompetitionConcept Design - Authoship, Drawings, 3D Model, Images

Nuestra Sora de Los ngeles 13, Madrid, Spain | CompetitionConcept Design - Authoship, Drawings, 3D Model, Images

Freelancer Architect | Co-Autorship Projects | Lisbon, Portugal

Warming Hut: The House of the Setting Sun, Winnipeg, Canada | CompetitionConcept Design - Authoship, Drawings, 3D Model, Images

Sukkah City: NYC 2010, Union Square, New York, USA | CompetitionConcept Design - Authoship, Drawings, 3D Model, Images

Less Heathrow Runways - Green Peace AirPlot Design Contest, Heathrow, UK | CompetitionConcept Design - Authoship, Drawings, 3D Model, Images

2010

worK exPerience2007 | 2011

6contentsselected ProJects

9academic ProJects

10

Patio housePorto Brando, almada, Portugal

Patio House

Project LocationDateDisciplineUniversity Architecture ProfessorsArea

Patio House with three cubes of 6 meters Edge Porto Brando, Almada, PortugalMarch | July 2007Projecto IIUniversidade Autonma de Lisboa Francisco CostaManuel Graa Dias, Flavio Barbini, Diogo Seixas Lopes110 m2

The proposed assignment presumed the creation of a Patio House on a plot located on a steep cliff on the south bank of the river Tejo, near Porto Brando. The program was clear and the volumetry was pre-defined beforehand: Three cubes with six meters of edge serving three distinct functions: House, Patio, and Workplace. The cube that corresponded to the Patio would need to be necessarily closed on all sides, except for the top.

Differing from most solutions presented, this proj-ect refused working with the cliffs and was located at the very top of the ravine, looking to establish a strong relationship with Lisbons city views and the surrounding buildings.

The southern limit of the lot was in the surround-ing area of Lazareto Novo de Lisboa Built in 1869, near St. Sebastio Caparica Fortress. With a radial U plan consisted of six blocks, it is one of Almadas major monuments , and envisaged receiving quaran-tine travellers, who came to Lisbon by sea and were suspected of having contagious diseases. Among pa-tients and staff, living in separate wings of the build-ing, it once provided housing for 841 people.

Despite its scale and magnificence at the top of the cliff, and the specificity and quality of its design, this building is now abandoned. It seemed appropriate to create a relationship between this building and the proposed project, also creating a way to draw atten-tion to the historical and architectural importance of the Lazareto Novo de Lisboa.

The project is positioned as a second wave of Laza-reto. The cubes are arranged as a semicircle, creat-ing a second ring of the Lazareto, trying at the same time, by the rotation of the three volumes, to create a reception area before entering the house, which is through the Patios centre.

Somehow, similarly to the architect Cesar Portelas Cemetery in Finisterre, this project is built on a flat platform, high over sea level, where the different cubes are positioned to target specific views.

Therefore the cube with the workplace is placed East, opening directly to the most bustling view of Lisbon and 25 de Abril bridge. To the west, the housing cube opens to the more placid view of the Tagus river mouth. In contrast to these specific sights, the Patio opens only towards the sky, aiming to give the owner a more introspective area where one can rest the eye from the imposing views of the Tagus river.

On the inside, the cubes are designed symmetrically. The housing ground floor has a double height en-trance, granting a larger and more spacious scale. On the other hand, the living room and kitchen area have a lower ceiling along the windows, granting a more human scale. The bathroom is placed under the staircase leading to the sleeping room mezzanine.In the work space cube the heights are reversed. The mezzanine is located south, freeing the north glass wall and turning it into a six by six meters display, overlooking the city and river.

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Section CC

South View

North View

1 2 5m

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Axonometry

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Corte BB

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Model Photos: North And South Viewa (Entry)

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Model Photos: Patio

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Interior View: Room and Hall

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Interior View: Workspace

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The proposed assignment implied the construction of a contemporary art gallery in Santos district. Recently entitled Santos Design District, after the cultural offer that was concentrated in this neighbourhood, historically it has been a meeting place, between the old town and the river, and later in the 19th centu-ry, between this city and the coastal embankment, where Lisbons first industries were settled.

The project consists of two blocks that aim to close and consolidate the city front. These blocks extend the neighbour buildings facades, intercepting in a public use stair that connects Vitorino Damsio square to Marqus de Abrantes street. Besides set-ting the buildings interior layout, this stair also opens a gap, allowing light to reach the interior.

Accounting the program, the more public nature areas(cafeteria and bookstore), are placed in trans-parent spaces open to the square thus, inviting the life of this quarter into the building. The administra-tion is at Calada do Marqus de Abrantes level, as well as the gallery lobby. This lobby is a mezzanine, and underneath is the gallerys bathrooms and lock-ers. The Storage Area for the art collection, is located on the Underground floor, which occupies the area of the whole lot.

The gallerys exhibition space runs in three stories above the street level.

The gallery space is assumed as an enclosed volume to the outside, enhancing the contrast between the transparency in public spaces and the need for ab-straction required by an art gallery, while at the same time it inverts the duality between weight and light-ness of the building volumes.

To create spaces and indoor environments in both primary blocks, it was taken advantage of the instru-ments acquired with Oteizas sculpture project, thus creating a great diversity of double and triple heights spaces in several floors. This idea of visual permeabil-ity between different levels is constantly present, as the gallery opens to itself allowing the visitors to look at the floors below or above, even when these are physically distant.

Natural lighting is grasped by a single opening, a huge glass volume in the gallery, which results from the gap created by the public stairs on the volume above, and can also be interpreted as the purpose of Heideggers concept The space, within which the sculptured structure can be met as an object.

contemPorary art center at santossantos, lisBon, Portugal

Contemporary Art Center at Santos


Contemporary Art Gallery at SantosLargo Vitorino Damrsio, Lisbon, PortugalMarch | July 2006Projecto IVUniversidade Autonma de Lisboa Francisco CostaNuno Mateus, Ricardo Carvalho, Fernando Salvador2000 m2

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Contemporary Art Gallery at SantosLargo Vitorino Damrsio, Lisbon, PortugalMarch | July 2006Projecto IVUniversidade Autonma de Lisboa Francisco CostaNuno Mateus, Ricardo Carvalho, Fernando Salvador2000 m2

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2nd Floor4. W.C. | 5. Lockers

3rd Floor6. Lobby | 7. Administration

6th Floor8. Exhibition Space

Roof Plan

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5

476

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1 2

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Ground floor1. Cafeteria | 2. Bookstrore

1st Floor2. Bookstrore | 3. Reading Space

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8 8

1 2 5 10m

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Exhibition Space

LobbyW.C. | Lockers

Administration

Cafeteria

Public Stair

Reading Space

Bookstore

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South View North View

Section BBSection AA

Section EE Section DD

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1 2 5mTransverse Section

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Model Scale 1:100 Exhibition Space View | South View

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Model Scale 1:50 Stair View, Lobby and Administration

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Interior View: Cafeteria | Bookstore | Lobby and Administration

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Interior View: Exhibition Space

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This project consists of a luxury housing building that stands alongside the Basilica da Estrela, a national monument. The building tries to establish a strong re-lationship with the old monument, as the new volume stands parallel to the heavy stone volume of the Ba-silica, trying to define a new geometry in the square.

By standing in the back of the plot, the building aligns west with the height of Cinema Paris and grows east-ward in order to reinforce the relationship between its volume and Basilica da Estrela.

Scale and volumetric relations with Jardim da Estrelas large void and Avenida Infante Santos buildings were also established, looking to finish the avenue with the new volume.

With luxury as the core theme of the project, the idea of a private outdoor space for each house was devel-oped as a luxury design that in association with Lisbons climate would create the projects defining moment.

Thus, the voids created consist of each apartments private outdoor space and become crucial in the apartment design, as the houses are completely closed to the exterior and opened only to these voids.

In the faade, these voids are read as subtracted volumes from the buildings mass. To reinforce this subtraction idea, the voids are composed by glass planes, at the walls, ceilings and floors, among the white concrete building with a tint similar to that of the Basilicas stone.

The apartments, ranging between T5 and T0, are seen as ample spaces existing around and between the patios. The basic typology (the T5), is a duplex with two double height voids. In the lower floor, a double height living room, an office/library and verti-cal circulations are next to the largest void and the kitchen and dining room are next to the smallest.

In the upper floor, a suite bedroom is near the largest void while two bedrooms and a bathroom are near the smallest void. The bathrooms, as the voids, were designed as loose elements to allow the maximum variety and free each apartment for a total spatial understanding. Therefore all the rooms communicate not only visually through the patios, but also spa-tially without any physical barriers. Still, the different rooms can always be closed through sliding planes.

luxury housing at estrelaestrela, lisBon, Portugal

Luxury Housing at Estrela

Project LocationDateDisciplineUniversity Architecture Professors

+info

Luxury Housing Building at EstrelaLisbon, PortugalOctober | January 2007 | 2008Projecto VIIUniversidade Autonma de Lisboa Francisco CostaFrancisco Aires Mateus, Valentino Capelo Sousa

http://issuu.com/kikux/docs/projectovii

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Luxury Housing Building at EstrelaLisbon, PortugalOctober | January 2007 | 2008Projecto VIIUniversidade Autonma de Lisboa Francisco CostaFrancisco Aires Mateus, Valentino Capelo Sousa

http://issuu.com/kikux/docs/projectovii

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Estrela Square Plan

5m 2 1

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Infante Santo Avenue Model | Esc. 1:5000

Estrela Square Model | Esc. 1:500

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Estrela Street View

Domingos Sequeira Street View

Transverse Section

5 10 20m

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Base Tipology: Ground Floor

1st Floor

Transverse Section

Longitudinal Section1 2 5m

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Interior View

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This project consists of a building composed by three blocks unified by a roof, seeking to relate to its sur-rounding through its scale and direction, and looking to define geometry to the garden created inside.

The strongest idea behind this project is not just about designing a building, but also to design a com-munity center for the Carnide district. Somewhat, similarly to the ancient Roman Forums, was sought to create a large outdoor public space, bringing to-gether around it several public services opening to this new space. This complex is meant to promote gatherings among inhabitants, as a place for people to get together for leisure activities, work activities or simply to discuss the districts problems, enhancing therefore their sense of community.

The study room and cafeteria / restaurant are locat-ed in the volume placed south, which leaves a gap from the houses of Rua das Parreiras, and replicates its scale and volumetry. The study room is an unin-terrupted space open to the garden, punctuated by two volumes, housing a classroom and the toilets. Also in this southern volume, but detached by one of the constrainer axis, lies the cafeteria / restaurant. It seemed more appropriate for the cafeteria to also suit a restaurant, competing with the existing restau-rants at Largo do Coreto, and drawing/inviting more people during lunch and dinner times.

In the constrainer axis exiting from Rua das Parreiras void, is created an entrance to this complex with a roof simulating the gable roofs therein.

On the other side, at the northern limit of the lot, is placed a building block with a similar volumetry to the southern block. This will house administration fa-cilities (two office rooms, a meeting room and a re-ception area), an entrance hall with ticket booths and a cloakroom, and a broad multipurpose area, a large pavilion that could be used as exhibition space, or split to accommodate dance classes, painting work-shops or popular marches rehearsals. Integrated in this building are also the underground parking ac-cesses with room for 60 vehicles.

Crowning this complex is the Theatre, with a larger and freer volumetry, to achieve a strong presence in the garden and an intense relationship with the street. It also seeks to make a transition from the scale of one and two story buildings in the historic centre to those of five and ten stories housing build-ings located in Travessa do Pregoeiro. Split in two floors, and designed to accommodate 195 people at the stalls and 30 more on the balconies. It was also created as a multipurpose space, having all com-mon valences in a small classical theatre (foyer, stage house, backstage, rehearsals room, dressing rooms, etc.), could still host other kind of spectacles, such as music concerts, projections, conferences and local community gatherings.

This complex facades aim to reinforce the idea of cre-ating a centre, since to the exterior there is a tight mesh of pre-fabricated concrete columns (filtering the outside). On the opposite, the buildings open up entirely to the interior, with large windows, seeking a more strong relationship with the created garden. To further strengthen this relationship, overhangs with varied heights are projected outwards and allow the users for a more sheltered stay on the outdoors.

theater in carnidecarnide, lisBon, Portugal

Theater in Carnide


+info

Theater + Restaurant + Study Center + Exhibition SpaceCarnide, Lisbon, PortugalApril | June 2008 Projecto VIIIUniversidade Autonma de Lisboa Francisco CostaManuel Graa Dias, Pedro Reis, Telmo Cruz7000 m2

http://issuu.com/kikux/docs/teatrocarnide http://www.youtube.com/watch?v=7eZAqyh2DLY

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-1 Floor

10m 5 2

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1330

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Labels: 13. Stage14. Stalls19. Access to Underground Parking20. Ramp Access to Underground Parking24. Underground car park25. Backstage26. Machines Room27. Wardrobe28. Warehouse for Scenarios29. Carpentry30. Backstage31. Rehearsal Room

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Ground Floor

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Labels: 1. Study Room Reception2. W.C3. Internet4. Study Zone5. Classroom6. Pufs Zone7. Entrance of Parreiras Street8. Cafeteria9. Esplanade10. Kitchen11. Restaurant12. Service Entry13. Stage14. Stalls15. Gallery16. Rgie17. Foyer18. Reception / Cloakroom19. Access to Underground Parking20. Ramp Access to Underground Parking21. Warehouse22. Exhibition Space23. Administration31. Rehearsal Room

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1 2 5mTransverse Section

52 10mSouth View

North View

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Model view | Scale 1:200

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Model view without roof | Scale 1:200

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Interior View | Parreiras Street Entrance

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Theater Interior View | Main Entrance

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Lisbon, like other metropolis, currently faces a hous-ing crisis. Tertiarisation and consequent mono-func-tionality of city centres cause fewer people to live in the city, leading urban and historic centres to a seri-ous desertification problem.

Currently, there are c. 550.000 inhabitants in the Lis-bon municipality, but the Portuguese capital loses c. 10.000 peoples every year to its suburbs. Neverthe-less, c. 2.1 million people live in the periphery and a large fraction still moves to the city centre every day. However, when wandering the citys streets af-ter working hours or at weekends, theres a frightful feeling that the city lacks density and people. Oddly, nowadays there are over 60.000 empty, available and ready to move houses in Lisbon.

The proposed assignment in the beginning of the school year, consisted of rethinking the housing problem in Lisbon, by presenting 100 Possibilities to Inhabit Lisbon. The only initial conditions were the number of dwellings to be created and the selec-tion a specific location to develop and deploy the 100 homes.

The opportunity to create 100 Possibilities to Inhab-it allowed a deeper analysis of the dwelling issue in Lisbon and rethink it in order to seek new solutions that may offer better life conditions to residents and yet encouraging the citizens to populate the city cen-tre again.

The purpose of this project is, by occupying urban voids within the consolidated city, to enhance the surrounding areas and reverse the current trend of desertification. Thus, the chosen lots are located in what is now the central area of the city, breathing cosmopolitan life - the Avenidas Novas.Served with the best infrastructure and services, this is the most economically active area, and the one that can better receive a higher construction and popula-tion density, which Lisbon so desperately needs.

Standing in Lisbons plateau, building in height can be used to increase density, as it wont interfere with one of the most important features of the city of seven hills - its intense visual relationship with the Tagus river and its sights structure over itself.

This project allowed for a transversal reflection on what dwelling represents nowadays, from the city scale to the comfort of well-proportioned housing spaces and the materials of which they are made of. Simultaneously, outdoor spaces are taken into con-sideration at every scale, whether it is a large public space in the city, or by allowing the existence of a courtyard in every house.

100 PossiBilities to inhaBit in lisBonavenidas novas, lisBon, Portugal

Built Area

Paved Area

Premeable Soil and Green Roof Area

Parking Area

Unoccupied Buildings

Unoccupied Sights

Lotes de Possvel Interveno

Block Interior Analisys for Avenidas Novas Area

100 Possibilities to Inhabit in Lisbon


+info

Housing Building in LisbonAvenidas Novas, Lisbon, PortugalOctober | December 2008 | 2009Projecto IX | XUniversidade Autonma de Lisboa Francisco CostaJoo Luis Carrilho da Graa, Ins Lobo, Pedro Oliveira8.000 m2

http://issuu.com/kikux/docs/tese

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Housing Building in LisbonAvenidas Novas, Lisbon, PortugalOctober | December 2008 | 2009Projecto IX | XUniversidade Autonma de Lisboa Francisco CostaJoo Luis Carrilho da Graa, Ins Lobo, Pedro Oliveira8.000 m2

http://issuu.com/kikux/docs/tese

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1. Complete the Block while leaving an opening between the new builds to grant access to the block interior.

2. Regularize the interior space of the block, by rehabilitating it, making it semi-public.

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3. Housing is built suspended linking the street fronts while turning the new houses to the rehabilitated interior of the block.

4. This zone parking problems are solved by building an under-ground car park linked to the existing car park of the adjoining hotel.

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The project consists of a large lifted volume, connect-ing both lots street fronts, and four lower volumes, that extend the contiguous buildings heights, and thus defining the streets planes and reinforcing the concept of a city block interior.For clarity purposes regarding the strategy of this proj-ect, only the large lifted volume contains the housing requested by the proposed assignment. Whereas a mixed area in the Lisbon master plan, the other four volumes are intended for retail, offices and communi-ty equipment. Thus the programmatic split reinforces the implicit idea of different volumes.

The project aims to, in addition to building residential dwellings as part of the proposed exercise, ponder what the city block inner space can become.The project assumptions intend to stress this willing-ness of pondering and enriching the city blocks interi-or, as the residential building takes the form of a bridge that brings together both street fronts, rising from the ground and freeing a larger surface inside the block.

The idea behind this project is to consider and im-prove the city blocks interior as a whole, turning it, from a private and quartered space, into small seg-ments scattered throughout a large inner square, gar-dened and tree lined, accessible to all block residents and hotel guests.

For that, all small constructions and ruins inside the block would be demolished, and for this intervention to be economically feasible, an underground parking lot would be built, serving residents, retail, offices and hotels in this area.

The top underground level is to be used as repara-tion for the demolished buildings, and hotels parking spaces. Lower levels are destined for residents and offices as parking space.

The design of the city blocks interior uses paths that reshape the interiors perimeter and give access to all buildings. These paths also seek to set a new garden, conferring the space a clearer understanding.

Under the volume of dwellings, leveraging on the topography and its waterproofing feature from the underground parking, a small auditorium shaped space is created and is joined by the crossing of the city blocks interior. A water mirror is also drawn, to receive the rainfall from roofs and patios of the new buildings. These waters would also be used to water the new garden.

The housing volume also aims to reinforce the idea of refurbishing the city blocks interior, as it reverses the usual faade design, being blind to the streets and fac-ing towards the city blocks interior , with a rhythmic pattern that renew the block. This rhythm is achieved by changing and mirroring the basic housing typology.

As opposed to common housing buildings accesses, these are located inside the block, in two small cre-ated streets. The vertical circulations are placed every two apartments, thus replicating the access to most dwellings in the city. By varying typologies through-out different floors the lobby is sometimes exclusive to a single house.

City Block intervention

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North View

South View

5 10 20m

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Longitudinal Section

Transverse Section

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Model View | Scale 1:200

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As stated in the introduction, the goal with this exer-cise was to seek the ideal dwelling for Lisbon.

As a first approach, a better dwelling in Lisbon de-mands a private outdoor space, such as a patio, ter-race or a balcony, large enough, to allow residents to enjoy open-air inside their own houses.

This decision follows the analysis of Lisbons climatic and geographic conditions. Lisbon has a temperate climate year-round, thanks to its closeness to the sea. Even in autumn and winter, when temperatures drop, sunny and pleasant days can be enjoyed.Moreover, considering the citys topography, views over several city sights are possible.

Thus, the patio holds a central significance in the house, corresponding to one quarter of the total sur-face area in the lower floor, and treated as an exterior living room, that can be used all year and mediates the interior-exterior relations within the house.

The 3 rooms typology was chosen as the basic mod-ule, since it seemed as the most flexible housing lay-out. It is still adequate to house a single dweller in comfort, but also allows for a larger number of resi-dents to use the space.

The two-floor apartment is split in four by two per-pendicular axes. In the first quadrant of the lower floor, lies the single height entrance, adjacent to ver-tical circulation and opening to the double height liv-ing-room. The entrance also connects to the kitchen, including a pantry and toilet.

On the opposite edge, is the staircase and a room opening to the patio that can be used both as dining-room or home-office. The patio, to which all the main rooms open onto, has the same area as the double height living room, and together they amount half the surface area in the lower floor.

At the centre of the upper floor, lies the staircase landing and a mezzanine over the living-room, allow-ing access to the bathroom and bedrooms. In each edge of the house there is a fixed-size bedroom.On the south elevation there is only one large open-ing, that of the patio, aiming to highlight its relevance in the house. On the north elevation the faade de-sign is reversed, with direct openings.

From this basic module countless alternatives are de-signed, always occupying the same slab surface and having equal area rooms. These allow maximum di-versity in the space usage by different dwellers.

Basic Module: Building a New Dwelling Mode

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Label:

1. Entrance2. Kitchen3. W.C4. Pantry5. Storage6. Living Room7. Dinning Room8. Patio | Balcony10. Sleeping Room

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reas:

6 m2

9 m2

5 m2

3 m2

2 m2

24 m2

15 m2

24 m2

13 m2

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1st Floor

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North View

BB Section CC Section

Legenda: 3. W.C | 6. Living Room 8. Patio/ Balcony | 10. Sleeping Room 1 2 5m

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co-authorshiP ProJects

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a significant piece of cutting edge design with aesthet-ic and cultural power, it will help win the moral, environ-mental and cultural argument against destroying com-munities to make way for high carbon infrastructure. Its symbolic power will help us defeat the runway plans before BAA bulldozers are even on the horizon

This is how Greenpeace describes an ideal winning de-sign of the Heathrow Contest. It must put its emphasis not on preparing for a fight, but rather on winning an argument. More important than to physically fortify the Airplot, as the contests title suggests, is to symbolically empower it.Therefore our design focuses on creating a strong, ap-pealing object, a clear example of Greenpeaces effort against the Heathrow airport expansion.

The tower is an ancient typology, clearly seen as a cul-tural symbol throughout history, all around the globe. Englands round-tower churches, christian bell towers, or islamic minarets all set a visible statement in the sur-rounding landscape, calling for adherents. This tower can alert people in a wider landscape, the world, for a wider challenge, climate change.If built, it will resist attempts to tear it down without even being touched. No public authority would risk destroy-ing a built symbol of a peaceful, non-violent struggle against climate change, supposedly supported by every government in the western world. It would be compa-rably shocking and clear as the September 11 attacks on the World Trade Center Twin Towers, a symbol of ameri-can economic power.Two natural elements are used to build this tower (earth and trees) and two others sustain its functioning (water and sun), always aiming at a minimum non-natural ex-ternal intervention. Thus the tower is an ecosystem in balance with the surrounding nature, its elements inter-twined and supporting.

Earth: Greenpeace UK can easily mobilize dozens of people to start digging, using non-mechanical means such as shovels. A circular moat is then dug, inside which the tower will be built. 400 cubic meters of soil, equivalent to 1750 full wheelbarrows, are thus ob-tained. Formwork for rammed earth is set up, its pieces reused in the next block. Earth, mixed with gravel to increase stability, is poured in and manually compacted, raising the exterior walls.

Trees: A tree planting action, such as the one that gave Airplot its orchard, is organized nearby; preparing, or recompensing construction, if it is to urgently be built. Those trees will grow, taking its time, but building an air-port is hardly a short-term action. A woodland instead of a runway? The trees that were once planted will absorb carbon throughout its life. Those, or equivalent trees, are then manually cut. The terrain will again be available, hopefully for reforestation. Wooden logs are obtained, surely the amount needed for this structure. The trans-

formed lumber; boards and beams, are easily assembled creating the interior structures.

Water: Britain is world famous for its rainy skies, a re-source not to be missed. Rain water is collected in down-ward spiral along the tower. Hydroelectricity can easily be generated, a small turbine taking advantage of grav-ity. Water can be stored for later use by Airplot occu-pants. Watering the allotment is one of them. Filtered drinking water is another.

Sun: The sun is earths largest energy source. In this tow-er, as in most British homes, solar water heaters can be installed. Hot water showers in a plot without electricity or gas connections. Photovoltaic solar panels can also generate electricity from sunlight. Supported by hydro-electricity, an almost uninterrupted energy supply can be achieved, reducing the need for batteries.The vertical programmatic layout allows a low ratio of soil occupation, maintaining the existing ecologic and production features.The circular forms in plan stress the objects height, and furthermore increase the rammed earth walls stability.Three truncated cones, equally distant, placed accord-ing to an equilateral triangle, generate the towers outside geometry. Inside they draw four vertical cylin-ders, the central one occupied by a wooden stairwell that structures circulations. The reduced surface in each room emphasizes its vertical dimension. Shifts in the location of flights of stairs along a counter-clockwise spiral, and in the size of exterior openings, distinguish and rank the rooms.Double height areas correspond to public spaces, with wider openings. Single height areas are dorms or service zones.

At the top, the three truncated cones reach different lev-els, creating new height variations and an exterior zone looking towards the airport. Greenpeace activists can keep an eye on the Heathrow airport from this privileged point of view, planning and organizing new actions.

Long after expansion plans have been abandoned, and the tower has fulfilled its initial goal, nature can lastly take control, turning it into a green everlasting icon.

less heathrow runways | greenPeace comPetitionheathrow, united Kingdom

Less Heathrow Runways

Project LocationDateClient Architecture TeamCollaboration

+info

Airplot Design ContestHeathrow, UKApril 2010Greenpeace, UK

Fracisco Costa, Miguel Torres, Srgio NunesFracisco Costa, Miguel Torres, Srgio NunesAuthoship, Conception, Drawings, 3D Model and imageshttp://issuu.com/kikux/docs/greenpeacehttp://www.airplot.org.uk

74

kitchen

storage

showers

toilet

entrance

dining room

dining room dorms dorms dorms

dorms

dorms activism center

terrace

activism center

2

CO2 O2

A digging shovel

A circular moat is dug

400 cubic meters / 1750

wheelbarrows of soil

Formwork for rammed earth

is set up

Earth is poured in and rammed,

raising the exterior walls

A tree is planted

A growing tree

A woodland Trees absorb carbon

A rainy cloud

Cut t

rees

A tree

is cu

t

Logs W

ood b

oard

s and

beam

s crea

te

interi

or st

ructu

res The s

un

Solar

wate

r hea

ting

Rain water is collected in a

downward spiralWater is stored for later use

Filtered drinking water

Plants watering

Lighting

Broadcasting

Food cooking

Hot water

Electr

ic po

wer

Photovoltaic electricity

generation

1

75

kitchen

storage

showers

toilet

entrance

dining room

dining room dorms dorms dorms

dorms

dorms activism center

terrace

activism center

2

CO2 O2

A digging shovel

A circular moat is dug

400 cubic meters / 1750

wheelbarrows of soil

Formwork for rammed earth

is set up

Earth is poured in and rammed,

raising the exterior walls

A tree is planted

A growing tree

A woodland Trees absorb carbon

A rainy cloud

Cut t

rees

A tree

is cu

t

Logs W

ood b

oard

s and

beam

s crea

te

interi

or st

ructu

res The s

un

Solar

wate

r hea

ting

Rain water is collected in a

downward spiralWater is stored for later use

Filtered drinking water

Plants watering

Lighting

Broadcasting

Food cooking

Hot water

Electr

ic po

wer

Photovoltaic electricity

generation

1

76

Interior and Aerial Views

78

Rope Towards the Sky aims to construct the suk-kah with only one gesture, one element; one single rope. There is no distinction between the sukkahs four walls and its schach. The four-sided surface that defines the walls intersects itself, transforming into schach and enclosing the sukkah. This surface holds to a steel structure measuring 10 feet x 19 feet x 20 cubits, the maximum allowed volume.

Schach must be made of something that once grew in the ground, and is prepared specifically to be used as schach. A 2000 feet long rope made from manila hemp or other natural fiber could therefore be used as schach. It is the sukkahss most important and essential element, and so rightly tailor-made.

The surfaces design and rope spacing (never exceed-ing one handbreadth) easily provides more shade than sun throughout the day. Yet, visual perme-ability is still granted, an important characteristic in a publicly located sukkah, inviting people to come in.

The rope surface narrowly isnt closed, just enough to allow entrance.

Once inside, the design clearly draws the eye up to the sky, the amazing rope intertwining still allowing to see New Yorks bright sky.

On the other hand, the steel structure is as bare as possible. Standard L-shaped profiles, welded togeth-er and pierced for the rope to pass through. It simply limits the maximum volumetry, and lets the rope run freely within.

Our design questions current sukkah bulding mate-rials and methods, anchoring its dimensioning and shape in the most elemental biblical parameters.

suKKah city: nyc 2010union square, new yorK, usa

Sukkah City: NYC 2010

ProjectLocationDateClientArea ArchitectureTeamCollaboration

+info

Sukkah City: NYC 2010Union Square, New York, USAJuly 2010Reboot, Union Square Partnership 17,5 m2

Fracisco Costa, Miguel TorresFracisco Costa, Miguel TorresAuthoship, Conception, Drawings, 3D Model and images

http://issuu.com/kikux/docs/sukkahhttp://www.sukkahcity.com/

80

C'B'A'

D

E

F

D'

E'

F'

CBA

D

E

F

+ = 20 cubits

19 feet

3 handbreadths

10 feet

1 handbreadths

Longitudinal View AA Section BB Section

Maximum Volume Rope Surface

81

C'B'A'

D

E

F

D'

E'

F'

CBA

D

E

F

+ = 20 cubits

19 feet

3 handbreadths

10 feet

1 handbreadths

CC Section DD Section EE Section FF Section Transverse View

Roof Plan

Floor Plan

82

Model View

83

Render View

86

How can a sculpture be inhabited? How can it be done, without losing its conceptual strength and aes-thetic quality? The association between a visual artist and two architects tries to address this question, so the outcome can be installed at Winnipegs frozen As-siniboine river.

The three elements of this team, who met in Carlos Nogueiras drawing classes, bring to the work distinct subjects that complement each other, thus producing a whole piece.

Throughout its solid and coherent trajectory, the work of Carlos Nogueira often approaches Architecture. On the other hand, Francisco Costa and Miguel Torres, two young architects, seek in their work the clarity of contemporary art.

The House of The Setting Sun can be read either as a sculptoric shelter or a habitable sculpture.

warming hut: the house oF the setting sunwinniPeg, canada

Warming Hut: The House of the Setting Sun

Project

LocationDateClientArea Architecture

Team

Collaboration

Competition

+info

Warming Huts v.2011: An Art & Architecture Com-petition on IceWinnipeg, CanadaOctober 2010Assiniboine Credit Union River Trail 18,5 m2

Carlos Nogueira (Visual Artist), Fracisco Costa, Miguel TorresCarlos Nogueira (Visual Artist), Fracisco Costa, Miguel TorresAuthoship, Conception, Drawings, 3D Model and imagesnot selected for construction

http://issuu.com/kikux/docs/warminghuthttp://www.warminghuts.com/

This project seeks a simple and conceptually strong answer to address all the problems a warming hut can pose.

By folding every side of the proposed prism, practical-ity issues are solved and enriching moments created; the entrance door, a long bench for the trail users to rest, a large horizontal opening allowing those who sit comfortably in the bench to heat by direct sunlight and at the same time watching treetops contrasting with the sky, a vertical window the same width as the bench offering a sharp view of the trail and the successive bridges crossing the river, a large skylight that illuminates the hut and lets one see the sky from inside, at last a small support to drop ski equipment while you rest.

In order to emphasize the folds, but maintain inner space clear, red cedar structural elements are placed outside, giving the huts exterior a stronger texture.

88

Cube Golden Ratio Section & Floor Plan

Structure on the outside to emphasize folding direction

East Elevation | Scale 1:50 Transverse Section | Scale 1:50

2

1

1

3

3 1

3

1. Glass | 2. Western Red Cedar Beam. 2 1/2 x 5 1/2 3. Western Red Cedar Plywood Board. 5/8

89

Floor Plan | Scale 1:50

Bench

Entrance

Equipment

South Elevation | Scale 1:50

90

Interior View

94

Corridors giving access to houses can function as overlapping streets, meeting points for dwellers, re-visiting and updating Le Corbusiers interior streets concept, first proposed in his Unit dHabitation as well as Alison and Peter Smithsons Streets in the Sky at the Robin Hood Gardens.

These semi-public Streets In the Sky are illuminated and qualified by wide openings at the ends and the permeability to the patios and through the different floors, while being at the same time protected from the bad weather.

The stairs establish a visual continuity throughout the floors, acting as diagonal streets that cross the whole building.

In this project, the need for outer spaces is obvious, as a consequence of the squeezed indoors, and as a mean of bringing some life to the streets. The cli-mate, and in particular Madrids sun exposure, justify these outdoor rooms, open and aired, and yet pri-vate and protected from the summer sun.

Jenga 13: nuestra seora de los ngeles 13 madrid, sPain

The site bears great significance in the urban setting, being located at the frontier between the Vallecas dis-trict and the new urban interventions. The proposed design seeks to build clearly this limit; a monolith that encloses the plan.

In order to achieve that clarity, the buildings footprint must be redesigned and its height increased, relocat-ing the apartments that in the lower floors give way to courtyards, as if it were a Jenga.

The 140 dwellings required in the program, and their reduced areas forced by budget constraints, imply a high population density. That density should also be-come urban, and another housing building in Vallecas can become a real vertically organized neighbourhood.

Nuestra Seora de Los ngeles 13

ProjectLocationDateClientArea ArchitectureTeamCollaborationCompetition

+info

Housing Block MadridNuestra Seora de Los ngeles, Madrid, SpainJanuary - February 2011EMVS 10500 m2

Fracisco Costa, Miguel TorresFracisco Costa, Miguel TorresAuthorship, Conception, Drawings, 3D Model and images

http://issuu.com/kikux/docs/jenga13/1

95

Housing Block MadridNuestra Seora de Los ngeles, Madrid, SpainJanuary - February 2011EMVS 10500 m2

Fracisco Costa, Miguel TorresFracisco Costa, Miguel TorresAuthorship, Conception, Drawings, 3D Model and images

http://issuu.com/kikux/docs/jenga13/1

96

Neighborhood

Houses

Plots

Street

Vertical Neighborhood

Houses

Plots

RuaElevada

97

Monolit

Subtraction

Reposicion

Jenga!

Horizontal Streets Galeries

Diagonal StreetsStairs

Patios

Exterior Spaces Progressive SistemPublic | Private

98

Northeast ElevationSoutheast Elevation

Southwest ElevationNorthwest Elevation

99

Planta Piso Tipo | 6th Floor

CC Section

AA Section BB Section

DD Section

100

T1 | 1 Room

T2 | 2 Room

T3 | 3 Room

101

Galery

Patio

Living Room | Kitchen

102

Calle de los Hermanos de Trueba View | Calle Doctor Snchez View

107

collaBoration ProJects in Portugal

108

This finishing was conceived as the south closure of the urban system that designs and disciplines what is built and what is not, allowing it to be understood with clarity and consequence. The strategy starts with the reduction of the volume impact, taking advan-tage of the logic programmatic division (horizontal and vertical), to achieve a scale adequacy.

The project consists of closing a complex cluster and seeks to line up the programmatic blocks in such order that disciplines the relationship between what is built and what is not, leaving a wooded area in the system centre a garden open to the south apprehensible from the public space at any level. The outdoor spac-es look to set a distinctive atmosphere, around witch the complex is organized, strengthening its unity and revealing a gentle landscape as opposed to the fragil-ity and scarcity of the surroundings.

In the East Front of the building, where the car park was required, is proposed a vegetation curtain.Amis Headquarters, despite its recession from the av-enue, attempts to find an urban continuity along this vegetation canal.

2009 RCJV Arquitectos.

ami headquarterscascais, Portugal

AMIs HEADQUARTERS AS A (RE)FOUNDATION OF THE SITE

AMI Headquarters can play a refounding role by cre-ating a new site in the urban landscape that we now consider as a subjective extension of the contempo-rary city. Similarly to S. Domingos de Rana Church with its foundation features (stability of form and shape and a symbolic emanation) in relation to the landscape and the community, a Building with the symbolic significance such as Amis Headquarters can operate a positive change, embedding and enhanc-ing the themes of the contemporary city.

Amis Headquarters can be a vehicle for the revitaliza-tion of public space, creating a new centrality, that ag-gregates the surrounding commerce, and contributes as a cultural emanation that elevates the average qual-ity of the architecture and construction present there.

The proposal is a backtack to a complex urban sys-tem, with records, arrays, morphologies and diverse occupations. This backtack configures and completes S. Miguel Avenue, freeing the west front and open-ing to the south, revealing a forested meadow.

The scale of Amis Headquarters brings continuity with the urban environment, permeability as a build-ing and above all constitutes a place of mediation be-tween the various constrains built and those listed in the terms of reference.

A NEW URBAN ENVIRONMENT CATALYST

Despite consolidated along the avenue due to the presence of commerce, high pedestrian movement and vegetation, the urban environment in S. Miguel das Encostas is characterized by a physically disperse and circumstantial structure. With a strong land-scape and different occupation models from villas and small housing blocks, to high density mixed-use buildings in this plot its urgent to achieve a finishing capable of responding to all the scales (volumes and heights) and expressions that occur nowadays.

AMI Headquarters

ProjectLocationDateClient Architecture Team

CollaborationCompetition

+info

Public Competition for AMI HeadquartersS. Domingos de Rana, Cascais, PortugalNovember | January 2007 | 2008AMI

Ricardo Carvalho Joana Vilhena Arquitectos with Rui MendesJoana Vilhena, Ricardo Carvalho, Rui Mendes, Francisco Costa, Sebastio Taquenho, Ins CamposConception, Drawings, Models, Images

www.rcjv.com

109

Public Competition for AMI HeadquartersS. Domingos de Rana, Cascais, PortugalNovember | January 2007 | 2008AMI

Ricardo Carvalho Joana Vilhena Arquitectos with Rui MendesJoana Vilhena, Ricardo Carvalho, Rui Mendes, Francisco Costa, Sebastio Taquenho, Ins CamposConception, Drawings, Models, Images

www.rcjv.com

112

Exterior Views

113

Views from the Building Interior Balcony

116

The Project involves:

- Construction of a new porters building next to the main gate of the school.- Rehabilitation, infra-structural and anti-seismic in-tervention. Improvements in the area of heating/air-conditioning, acoustics and accesses, such as vertical communications (with the installation of a lift in the west atrium).Emphasising the central nature of the Atrium and from there establishing links with all the programmatic areas.- Improvements to the workshops and conditions in the area of heating/air-conditioning, acoustics and accesses. Changes to the old mechanics workshop, in order to allow the creation of an indoor football pitch, changing rooms and stands. This provides a covered sports area with natural light, which can be used by the local community without affecting the smooth running of the school.- Improvements to outside areas, restoration of paved areas, creation of shaded areas, installation of fixed furniture and leisure zones with planting of trees.

The project puts the programmatic areas into order, establishing a hierarchy of use and inter-relation, us-ing their scale and dimensioning vocation, their po-sition in relation to the Atrium and other available areas within the existing space as a starting point. The main teaching area groups were kept and dif-fuse uses were changed, concentrating uses with programmatic similarities.squema distributivo. 2009 RCJV Arquitectos.

seBastio da gama schoolsetBal, Portugal

The Modernisation Project for the Sebastio da Gama School is based on improving the school and its relationship with the city of Setbal. This process includes both exterior and interior areas. The basis of all public spaces, and particularly schools, is about the balanced relationship between both. This relationship is responsible for the memory of the first collectively shareable areas in a community. The project orders, rearranges and locates not only the programme and circulations but also the design of the outside area.

The starting point for the project is the setting both symbolically and functionally of an exterior cen-tral space, which regularises and completes the area where people circulate, creating a paving plan that is perceptible as the centre of the school.

The structural presence of Learning Street (in line with the School Network programme) was interpret-ed as a way of intercepting all areas of the school, reacting to the succession of interior and exterior, covered and open spaces, finishing off an area of student and teacher activity easily perceptible as a distributive scheme.

For this system to become intelligible and effective, the creation of the new building (which contains the library, multi-use room, copy room, caf and outdoor playing field) between the main class building and the gymnasium was very important. This aims to be the logical conclusion of a system that is today con-sidered to be unfinished.

Sebastio da Gama School

ProjectLocationDateClient Architecture Team

CollaborationConstruction

+info

Refurbishment Escola Secundria Sebastio da GamaSetubal, PortugalJuly | August 2008Parque Escolar

Ricardo Carvalho Joana Vilhena ArquitectosJoana Vilhena, Ricardo Carvalho, Francisco Costa,Sebastio TaquenhoConception, Drawings, Models, Images 2009 | 2010

www.rcjv.com | www.archdaily.com/214767

117

Refurbishment Escola Secundria Sebastio da GamaSetubal, PortugalJuly | August 2008Parque Escolar

Ricardo Carvalho Joana Vilhena ArquitectosJoana Vilhena, Ricardo Carvalho, Francisco Costa,Sebastio TaquenhoConception, Drawings, Models, Images 2009 | 2010

www.rcjv.com | www.archdaily.com/214767

119

New Buildings First Version | Library + Auditorium / Multi-Purpose Room + Bar + Sports Field: NorthSection| West Section | South Section

120

3D Rendering | Built: School Square and New Building View

121

3D Rendering | Built: New Building View from the Exterior

122

3D Rendering Library Lower Floor | Auditorium / Multi-Purpose Room Entry

123

Built Library Lower Floor | Auditorium / Multi-Purpose Room Entry

124

Photography: FG+SG

126

The architectural proposal is based on our first read-ing of the ground floor. This is the only building in the Baixa Pombalina area (the 18th-century city cen-tre planned by the Marquis of Pombal after the earth-quake of 1755) where one can have a full perception of the configuration of the whole building block from the inside as well as an interrupted view of the streets around it. We departed from this unique characteris-tic and proposed a new programme without building any walls and with limited demolition work, in order to clarify the perception of the space.

The intervention in MUDE is primarily made with LIGHT. The non-material element of light is used to draw attention to the exposed concrete and most importantly to the collection, with artificial lighting wrapping around some of the building elements. The project is further characterised by the expressionist presence of the exposed concrete structure and by the industrial materials that were used SCAFFOLD-ING CANVAS, that allude to the street and PALLETS, that were used to display. The floor was partially painted with REFLECTIVE PAINT. The design and fash-ion items occupy the space in an informal way, estab-lishing a close relationship with the visitor.

From the cafeteria, with its single long cork table, one looks out to the museum through a single glass sheet as well as to the surrounding streets of the Baixa Pombalina. 2009 RCJV Arquitectos.

mude - museum oF Fashion and designlisBon, Portugal

The project for the Design and Fashion Museum pro-visional premises provides an intervention in the old Banco Nacional Ultramarino building on Rua Augusta, situated at the heart of Lisbons historic city center.

The building was designed by the architect Cristino da Silva (initiated in 1952) and was characterised by a ground floor, entirely dedicated to client service with a strong urban relationship to the streets surrounding the building and, most importantly, an atmosphere distinguished by the solid nature of the materi-als used and the sophistication of the construction undertaken. This was the most Viennese of Lisbon banks, with a stone counter capable of defining the design of the entire space in itself and an interrupted interior that reveals the proportions of the building block from the inside.

At the beginning of this decade, the bank changed hands and was adulterated via a series of structural works that were halted to preserve the heritage that the building represented. Since then, the building has been without its original fittings and the concrete struc-ture is visible. In 2009, Lisbon City Council acquired the building to house the Design and Fashion Museum.

The project that we designed is for the museums provisional premises, with an area to display the col-lection, space for temporary exhibitions, a bookshop and caf and also an area for cultural events with capacity for one hundred people.

MUDE

ProjectLocationDateClient

Architecture Team

CollaborationConstruction

+info

Museum of Design and Fashion in LisbonRua Augusta, Lisbon, PortugalFebruary 2009Museu do Design e da Moda de Lisboa | Municipality of Lisbon

Ricardo Carvalho Joana Vilhena ArquitectosJoana Vilhena, Ricardo Carvalho, Jos Maria Rhodes Srgio,Jos Roque Francisco Costa, Sebastio TaquenhoConception, Drawings, Models, Images2009

www.rcjv.com | www.mude.pt | www.archdaily.com/176468/

127

Museum of Design and Fashion in LisbonRua Augusta, Lisbon, PortugalFebruary 2009Museu do Design e da Moda de Lisboa | Municipality of Lisbon

Ricardo Carvalho Joana Vilhena ArquitectosJoana Vilhena, Ricardo Carvalho, Jos Maria Rhodes Srgio,Jos Roque Francisco Costa, Sebastio TaquenhoConception, Drawings, Models, Images2009

www.rcjv.com | www.mude.pt | www.archdaily.com/176468/

128

Museum Interior ViewPhotography: FG+SG

129

0 5

Scaffolding Fabric

Auditorium

Temporary Exhibitions1st Floor

Permanent ExhibitionGround Floor

Scaffolding Fabric

Light

Screen

Pallet

Light Counter

Highwary Paint

Bookstrore

Light Counter

Cork Table

130

3D Rendering | Built: Auditorium ViewPhotography: FG+SG

131

3D Rendering | Built: Cafeteria ViewPhotography: FG+SG

132

3D Rendering | Built: Counter Exterior ViewPhotography: FG+SG

133

3D Rendering | Built: Counter Exterior ViewPhotography: FG+SG

134

Photography: FG+SG

136

THE BUILDINGThe design of the building operates through the redraw-ing of the topography of the place. At the low level, the platform defines the level of the museums ground floor and of the square, that designs itself in its limit with the river. At the high level, a second platform articulates E Street and the Garden, thus establishing also the en-trance location to the Creative Industry Center.

On the platform, a suspended volume of concrete and at first sight easily read, cut out over E Street, establishes be-tween the two the place of the museum in relation with the city, without dispersing in several different volumes.

The clarity of the spatial organization is of concern to us.

The volumetry design was meant to find the fair and adequate scale for the building; in its relation with the existing buildings in the nearby areas; in its rela-tion with the river and its margins and as an excep-tional cultural and public building.

Concrete is the material that constructs the building. What is seen, is what it is. The building is the struc-ture. The very material that supports it, organises it.Suspended Volume and Void build the Building in its relationship with the exterior. Trying, on one hand in the ground floor, to solve its permeability, transpar-ency and openness to the city character and, on the other hand, of the need for spaces of contemplation and gathering, on the first floor. 2010 PLCO Arquitecto.

new ugm mariBormariBor, slovenia

CITYThe proposed area of intervention is located near Dra-va River, on the western side of the old city of Maribor. It is formed by two parts, north and south of E Street, alongside the river and characterized in its topography by its pendant oriented southwards, and deprived of the surrounding urban character.Located in a key spot of the relationship of the city with its river, the proposed solution consists of the creation of a square and a garden, and the characterization of the existing E Street, this way structuring and ordering the intervention area, which conform the implantation of the building of the complex of the new UGM. In spite of the diversity and complexity of the pro-gramme, it is intended that the building is read as a cohesive and unique piece by the clear treatment given to the volume both in its horizontality and in the way it touches the ground floor. Square, street and building are thought as one gesture at one tempo.

SQUAREThe Square, place for the collective and the urban, intrinsic qualities to the definition of city itself, rede-fines and characterizes the way Maribor relates to the Drava river by its gesture of being a balcony over it. This drawing reinforces the relationship with the water and with the other riverbank. The river is decreasingly a frontier.The Square is now a new door to the old city, asserting itself as the west boundary of Lent, on the one hand and as a center of the riverfront on the other. The Square is where the river, the museum and the city meet.

This area that lives from a single substance, defines the plan where the building stands. It is a luminous, warm, comfortable and permeable material, close to the na-ture of the land. The use of this substance, inthis entire plan, accentuates the diversity of the quali-ties of the square. An observer walking from the building towards the river goes from shadow to light, from confinement to openness, from silence to sound.The retreat of the contact points of the buildings hori-zontal volume withthe ground floor makes the piece visually light, promoting a strong shadow that extends the exterior into the interior.[...]

New UGM

ProjectLocationDateClientArea Architecture Team

CollaborationCompetition+info

Competition to the New Maribor UGM Art GalleryMaribor, SloveniaJanuary | February 2010Manicipality of Maribor, Slovenia14.800 m2

PLCO ArquitectoPedro Oliveira, Gilberto Reis, Bernardo Coutinho,Carolina Fernandes, Francisco CostaConception, Drawings, Models, Images3rd Prizehttp://www.ugm.si/en/

137

Competition to the New Maribor UGM Art GalleryMaribor, SloveniaJanuary | February 2010Manicipality of Maribor, Slovenia14.800 m2

PLCO ArquitectoPedro Oliveira, Gilberto Reis, Bernardo Coutinho,Carolina Fernandes, Francisco CostaConception, Drawings, Models, Images3rd Prizehttp://www.ugm.si/en/

139

Na Bregu Street

LibraryRestaurant and Terrace

Technical Gallery

Exhibition Space

Garden

Square

Technical Street

140

exhibition space architectural centre 1st floortemporary exhibition space underground floor

temporary exhibition space underground floor


temporary exhibition space 1st floor temporary exhibition space 1st floor

temporary exhibition space 1st floor

UGM collection exhibition space 1st floor







266.40

261.75

255.25

268.20

262.70

251.00

250.00

5 20

longitudinal section

Temporary Exhibitions Basement


Temporary Exhibitions 1st FloorTemporary Exhibitions 1st Floor

Temporary Exhibitions 1st Floor

Temporary Exhibitions 1st Floor UGM Collection Exhibition 1st Floor

141

exhibition space architectural centre 1st floortemporary exhibition space underground floor












266.40

261.75

255.25

268.20

262.70

251.00

250.00

5 20

longitudinal section

Perspective Sections of all Exhibition Areas

Museum Longitudinal Section

Architecture Center 1st Floor

Temporary Exhibitions 1st Floor


UGM Collection Exhibition 1st Floor

UGM Collection Exhibition 1st Floor UGM Collection Exhibition 1st Floor

Temporary Exhibitions 1st FloorTemporary Exhibitions 1st Floor

142

Model Views Ground Floor Volumes | North View

143

Model Viewa East and West River Views

146

To dwell means to leave traces.

Walter Benjamin, The Arcades Project

Our proposal uses architectural elements that are be-yond time: Plot, Patio, Stair, Pavilion and Terrace. The association of two houses creates in-between spaces of permeable soil. The repetition of the plots gen-erates a universe of private, semi-private and public spaces of complexity and surprise.

The cylindrical shaped patio is at the base of the pro-posal. The pavilions, understood as domestic spac-es, surround and communicate with the patio. The house is composed by spaces that are important to keep undefined at this stage, indeed, the flexibility and realism of the proposal derive from a non-def-inition of these spaces. The inhabitants can occupy the house in unexpected ways, subdivide spaces and change their use.

The external stair that gives access to the terrace is duplicated and represents the front facade of the house. The repetition of the stair element attributes an urban identity to it. The terraces are the af firma-tion of the semi-private space where all activities may take place.Daily life in the terraces may become en-tirely public at times, but beyond the wall, the world of private life will develop around a circular patio. 2010 RCJV Arquitectos.

house in luandaluanda, angola

Dwelling is the most immediate and extraordinary reflection of each individual

Bruno Taut, Die Neue Wohnung

The house is a place where myth and need meet. This primordial principle has been constant in all civilizations or geographies. A prototype for a house in Luanda, in the present climate of deep transfor-mation in the way the Angolan territory is occupied, is part of the quest to find for a place where myth and need meet.

The making of a house implies each time the founda-tion of place. To build a dwelling goes beyond a defi-nition of its interior, it determines the place that sur-rounds it. To dwell is to delimitate a space, to define a material or physical limit, creating a duality between exterior and interior.

The house draws the street, while it frames and shel-ters the inhabitants daily life. In Luanda, daily tasks take place both in the exterior and interior our pro-posal encourages this. The house brings in the street and outside life in its multiplicity of activities of trad-ing, working, crossings and meetings.

House in Luanda: Patio and Pavilion

ProjectLocationDateClientArea Architecture Team


Single family dwelling radically cheap to build for LuandaLuanda, AngolaApril 2010Trienal de Arquitectura de Lisboa250 m2

Ricardo Carvalho Joana Vilhena ArquitectosJoana Vilhena, Ricardo Carvalho, Francisco Costa

Conception and ImagesShortlisted Finalistwww.rcjv.com

147

Single family dwelling radically cheap to build for LuandaLuanda, AngolaApril 2010Trienal de Arquitectura de Lisboa250 m2

Ricardo Carvalho Joana Vilhena ArquitectosJoana Vilhena, Ricardo Carvalho, Francisco Costa

Conception and ImagesShortlisted Finalistwww.rcjv.com

148

Stairs | Terrace

House Interior View

House | Culture | Place (Gardi 1973)

Plot PatioMango tree

Pavillion House Repetition Semiprivate spaces Vicinity

Making city Urban fabric

Family of 7 pax

Back to Back Houses

Single House

Family of 9 pax

Block of 8 houses with semi--private spaces of permeable soil block of 12 houses mirror is used to create private patio

Block of 16 houses with terra-ces connecting two levels

Block of 16 houses with terraces connecting two levels

149

Competion Boards Proposal Plans, Sections and Elevations

150

Street View | Space Between Houses

151

Terrace View | Patio Interior View

153

Lets Talk Abou Houses Exhibition | Lisbon Architecture Triennale

154

To these objectives, we added the simplicity and iconographic power of the stadiums exterior shape The Cloud and an arena surrounded by regular rings, without geometric accidents, that design the stadiums interior, in a way to enhance both continu-ity and crowd effectiveness.

A regular white shape, as the city that is receiving it. A shape that gradually arises, as the morning mist disappears. With an irregular texture from the fa-cades diverse puncture reminding us the clouds in the sky and Dreams. One Brand that will project Casablanca to the world.

2011 RISCO, SA.

grand stade de casaBlancacasaBlanca, marocco

The Grand Stade de Casablanca will be built in Lahaouyine, a neighbourhood in rapid develop-ment, located 12 kilometres from the city centre.

The tender required, in addition to the stadium, also a 64ha urban plan of its surroundings. A very detailed program that entailed the articulation be-tween the different accesses, the connection to the existing road network and an exterior parking for 9,000 vehicles as well as the location for a number of complementary sports venues, a hotel, a congress centre and an exhibitions park.

The construction of a Stadium for 80,000 specta-tors has a great impact on the territory, particularly, on the environment and mobility. The projects con-ception sought to incorporate, from the beginning, decisions aiming landscape structure and order, en-vironmental balance, natural resources protection and utilization and infrastructure mobility reconfigu-ration, in order to better serve the public.

Grand Stade de Casablanca


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Olympic Stadium for 80.000 spectators and surroundingsCasablanca, MaroccoApril | May 2011SONARGES 180.400 m2

Risco, SA.-3D Model, Urban Plan, Diagrams2nd Place

www.risco.org

155

Olympic Stadium for 80.000 spectators and surroundingsCasablanca, MaroccoApril | May 2011SONARGES 180.400 m2

Risco, SA.-3D Model, Urban Plan, Diagrams2nd Place

www.risco.org

156

Stadium Levels and Spectators Diagram

Sports City Urban Plan Diagram

Interior Pool

Sports Musem

Multi-purpose Hall

Secondary Rooms Public Parking

Sonarges Headquarters

Medial Center

Combat Sports Venue

Training Stadium

Royal Parking

Security and Firefighters Parking

Visiting Fans Parking

Individualities Parking

VIP Parking

Media Parking

RER

First Level

30.773

7494

6810

326

2024

6024

6018

4918

49

2528 4977

Second Level

23.917

6876

6368

326

1589

848

848

6876

102 Boxes

1.432

674

80.9

24 S

pect

ator

s

Central Ticket Office | Raja Store / WAC | Advanced Medical Venue (Parvis Level)

Hotel

157

Media Parking

102 Boxes

1.432

Stadium Exploded Axonometry

Central Ticket Office | Raja Store / WAC | Advanced Medical Venue (Parvis Level)

Hotel

Exhibitions Park

Congress Center

Shopping Mall

BUS ParkingTR

AM

758 Third Level

24.802

3693

7556

9860

3693

162

The submitted concept proposes a vital adjustment to maximize the abovementioned planning process. This adjustment involves eliminating the Post-Games Transformation Plan, simply achieved through the precise design of the entire public space, built and infrastructure from scratch, which meets, without al-terations, the demands inherent to the Games mode and the ensuing long term urban transformation, in other words, the Legacy.

The two modes must coexist within the same space, at different times, but without demolishing and re-building all over again.

2011 RISCO, SA.

rio 2016 olymPic and ParalymPic ParKrio de Janeiro, Brazil

The International Tender for the Urban General Plan of the Rio 2016 Olympic and Paralympic Park is look-ing for a concept for the sustainable development of this part of the city.

The tenders program foresees a planning process di-vided into three phases; an Urban General Plan for the Olympic Games, a Post-Games Transformation Plan, and a Long Term Plan for the Legacy.

For the Games mode, the Olympic programs dates and requirements call for a defined project to be car-ried out in the short term (enchant and event). The shape is that of a park, a compound, a well delin-eated polygon, with specialized doors and accesses.

For the Legacy mode, the uncertainties regarding the future city call for more of a steering plan than a fin-ished project (consistence and duration). The shape is that of a web, a network without precise boundaries, which is inserted into the existing city.

Rio 2016 Olympic and Paralympic Park

ProjectLocationDateClientArea ArchitectureTeam


Rio 2016 Olympic and Paralympic Park Urban General PlanBarra da Tijuca, Rio de Janeiro, BrazilJune | July 2011Perfeitura do Rio de Janeiro | Rio 2016 118 ha

Risco, SA., Toms Salgado, Nuno Loureno, Jorge Estriga, Carlos Cruz. Pedro Barreto, Tiago Farinha, Telmo Antunes, Bernardo Falco, Francisco CostaConception, Models, 3D Model, Images, Diagrams3rd Placehttp://www.risco.org/pt/02_03_rio2016.html

163

Rio 2016 Olympic and Paralympic Park Urban General PlanBarra da Tijuca, Rio de Janeiro, BrazilJune | July 2011Perfeitura do Rio de Janeiro | Rio 2016 118 ha

Risco, SA., Toms Salgado, Nuno Loureno, Jorge Estriga, Carlos Cruz. Pedro Barreto, Tiago Farinha, Telmo Antunes, Bernardo Falco, Francisco CostaConception, Models, 3D Model, Images, Diagrams3rd Placehttp://www.risco.org/pt/02_03_rio2016.html

165

Games Mode Plan

Legacy Mode Plan

166

Public Space View Games Mode

167

Public Space View Legacy Mode

169

Main Public Space View Games Mode | Legacy Mode

170

Aereal View Games Mode

171

Aereal View Legacy Mode

173

collaBoration ProJects in Brazil

174

Under the temple is located the dining hall, that opens to the wide void inside the city block, an area to be used as a meeting and communion space.

The Choir Rehearsal Room, located in the first under-ground floor, feature a setting that allows its use as a smaller temple, a small theatre for various presenta-tions, or a reserved space with independent access to hold funerals and other events.

A small building, near the corner of M. Mizumoto and B. Iguape Streets, covers the access ramps to the Temple and has inside the pastoral offices and multi-purpose rooms for prayer and meetings.

The parking spaces required are located in two un-derground floors with main access by Mituto Mizu-moto Street and secondary access by Sininbu Street.

2012 H+F Arquitetos.

yonhaP comPlexliBerdade, so Paulo, Brazil

The proposal arises from the distribution of activi-ties developed by the church into three major sectors: Educational and Administrative Sectors, located in the existing building near the temple; the Cultural and Lei-sure Sectors, installed in the building thats currently used by Gods Team; and the Worship and Fellow-ship Sectors occupying the new premises designed.

This sectorization serves as guidance the future changes and adjustments and intends to forge a spe-cific character for each part of the Yonhap Complex.

The New Complex seeks to confer significant urban presence to the New Temple, placing it in a promi-nent position next to Mituto Mizumoto Street. This Building stands one level above the sidewalk and the access to its interior is through a series of ramps de-signed to enable a calm and comfortable path.

Yonhap Complex

ProjectLocationDateClientArea ArchitectureTeamCollaborationConstrution

+info

New Yonhap Temple in So Paulo Schematic Design Liberdade, So Paulo, Brazil Maio - Agosto 2012Igreja Presbiteriana Unida Coreana de So Paulo 3.800 m2

H+F ArquitetosPablo Here, Eduardo Ferroni, Marta Pavo, Francisco Costa Drawings, Models 1:200 and 1:50, 3D Model, ImagesScheduled 2013

http://www.igrejayonhap.com.br/

175

New Yonhap Temple in So Paulo Schematic Design Liberdade, So Paulo, Brazil Maio - Agosto 2012Igreja Presbiteriana Unida Coreana de So Paulo 3.800 m2

H+F ArquitetosPablo Here, Eduardo Ferroni, Marta Pavo, Francisco Costa Drawings, Models 1:200 and 1:50, 3D Model, ImagesScheduled 2013

http://www.igrejayonhap.com.br/

176

ComplexSul Balcony | Level 107.50

Temple | Level 104.10Groundfloor | Level 99.80

2nd Basement | Level 93.201st Basement | Level 96.20

DepositTemple

Multipurpose Building

Temple Balcony

Outbuilding

Multipurpose Room

100 people Room

Toilets

KitchenCafeteria.

Dinning HallFoyerReception Support Room

Deposit Temple

Access Balcony

Toilets

Parkingaccess by interior Ramp

ParkingAccess and Exit by Mituto Mizumoto Street

Technical Area

Technical Area

Technical Area

Technical Area

Stand | Garden

Choir Room

177

Toilets

178

Mituto Mizumoto Street Elevation | Entrance

179

Ramp Landing | Dinning Hall

180

Interior Views: Choir Room | Temple Balcony

181

Temple Interior Views: Side Access | Pulpit

182

Model Views: Scales 1:200 e 1:20

183

Model Views: Scales 1:200 e 1:20

184

Social SectorThe Store is directly connected with the main en-trance, allowing the access to the course through the balcony or the ramp. This flexibility enables diverse movement between the store and the other sectors.

At the right edge of the balcony, near the 1st, 18th, 9th and 10th hole are located the Restaurant, the Multipurpose Hall and the Olympic Balcony ( flexible space designed as an extension of the restaurants balcony destined, for the Olympic solemnities and privileged point of view of matches at 7.10m high).When ended the Olympics, this space can also be used to expand the restaurant.

Positioned at the course level (2.75m), under the Olympic Balcony, is the Multipurpose Hall with both an independent access from the main road and a di-rect connection to the restaurants balcony through an exclusive ramp allowing it to function indepen-dently or connected to the balcony. This scheme al-lows the kitchen to have access to the main road for loading while establishing a direct communication with the Restaurant and the Multipurpose Hall.

2012 H+F Arquitetos.

rio 2016 olymPic golF course headquartersrio de Janeiro, Brazil

NatureBy celebrating the reintegration of Golf in the Olym-pic Games, the project for the Headquarters of the Olympic Golf Course in the city of Rio de Janeiro also celebrates the remarkable presence of nature as a key element in the Brazilian cultural identity.

The location of the new course in the middle of Marapendi Ecological Park contributes to the con-struction of a Brazilian Golf Identity; a sport that is characterized by the relationship established between nature and construction.

BalconyRespecting the natural characteristics of the land-scape, we propose a light structure elevated from the ground, touching only in specific cases and allowing continuity between the course landscape and the constructed areas. Elevated at 5.5m, above visual topographic obstacles, this platform is designed as a large balcony facing the course, from which are structured the different parts of the program: Social and Institutional Blocks on the balcony, and support areas placed next to the course.

AccessibilityThe access to the complex is via a road designed in the landscape that accommodates parking in rows shaded by trees and merged with vegetation squares. Taking advantage from the existing landscape slopes its possible to communicate the different building floors by smooth ramps, turning the entire building totally accessible as a natural walk.

The Main Entrance is located at an intermediate level (4.4m), and the main access unfolds upwards to the balcony level (5.5m) and downwards to the course level (2.75m) where the support areas are located.The elements of separation between the golf course and the contiguous areas can be located in the outer areas associated to the landscape design or at the balcony projection attached to the building.

Rio 2016 Olympic Golf Course Headquarters


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Rio 2016 Olympic Golf Course Headquarters Rio de J

Portfolio | January 2014 (English)

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Transcript of Portfolio | January 2014 (English)