` portfolio
university of edinburgh
personal information_ _nationality. Portuguese _date of birth. 31/10/1988 _address. (not displayed) _mobile phone. (not displayed) _e-mail. andre.kong@live.com
education_ _sept 07- present. University of Edinburgh, UK MA (Hons) Architectural Design Broad range of topics studied, including Architectural Design, Technology and the Environment, Architectural Theory and Architectural History. _sept 05- jun 07. St. Julian’s International School, Portugal International Baccalaureate Diploma Awarded 40 Points with Bilingual Diploma (IBO) _sept 03- jun 05. (I)GCSE Certificate - 9 subjects taken - 5 A* and 4 A grades.
professional experience_ _jun 09- aug 09. Manuel Aires Mateus & Associados, Lisbon • • • •
Worked on a 6 x 8m 1:200 site model for the ‘Parque Mayer’ Redevelopment project in Lisbon within a team of 4 architects Constructed a work model of ‘Centre for Palliative Care’, Grandola Detail study model of the garret space in ‘Sao Carlos Apartments’ Assisted several architects in CAD drawings and in formal planning applications that enabled me to understand how architectural practices work
_Oct 04. David Sinclair Architects, Cascais
relevant skills_ _computer skills. -Excellent command of Adobe Photoshop CS4 and earlier -Excellent command of Sketch-up Pro 7, render plug-ins Podium, Artlantis and Renditioner, Adobe InDesign, Adobe Illustrator and iMovie -Good command of ArchiCAD 12 -Excellent command of Microsoft Office tools (Word, Excel, PowerPoint, Publisher) -Limited experience working with Vectorworks and AutoCAD -Extremely competent web research skills _languages. Proficient in English and Portuguese, independent user of French and Spanish.
referees_ Dr. Cary Siress University of Edinburgh - Department of Architecture 20 Chambers Street, EH1 1JZ Edinburgh, UK +44 (0)131 650 2319 Humberto Silva Manuel Aires Mateus Associados Rua Silva Carvalho, 175 r/c 1250–250 Lisboa, Portugal +351 21 381 56 50
academic portfolio mario andre kong university of edinburgh
cv
_technical skills. Good model making skills in a variety of materials using a range of machinery and equipment including CAD/CAM systems learnt at school and university. _driving licence. B,B1 _professional memberships. Student member of RIBA (Royal Institute of British Architects) _further awards. Duke of Edinburgh Award (Silver Medal)- developed a true sense of team spirit and endurance in the expeditions. Appointed Head Boy at St. Julian’s International School (2006)- Represented the school on a number of events and liaised between staff and pupils.
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1 Practices of Essence 2 Practices of Periphery 3 Practices of Place 4 Practices of Curation index 5 Practices of Fiction
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5
practices of fiction
“a shadow catcher for warsaw”
Plac Defilad, the parade ground on which the Palace of Culture and Science stands, was historically used for soviet propaganda in the form of military parades. Today, the military armament is no longer physically present but the ideas of oppression associated with it still exist within the shadow of the Palace. The area is empty but not empty of tension. The shadow parades itself on this stage that surrounds the palace. Catching shadows is an imaginary concept. A ‘shadow catcher’ is therefore developed within the realm of fictional architecture. It tells a story or in this case represents a history. The entrapment of the shadow happens in the project itself as representation of idea. It is captured in its representational form, drawing, lines that compose the narrative of a fiction developed from a real history. The project folds the shadow of the Palace. Folding is associated with the idea of tidying, establishing order, putting away. The shadow is frozen at every hour of its birthday, 22nd July 1955. The interface between shadow and city is materialized. In its materialization the shadow absorbs the qualities of the city fabric and structure. It gains its texture. The shadows unfold and peel away from the city, then re-fold over themselves away from the Palace to their furthest point of reach, deleting overlapped areas. 11 shadows are folded into regular cages that have the proportions of 11 different military vehicles historically present in the soviet propaganda parades. It freezes the parade. The vehicles’ essence is captured and disintegrated within the self-caged folded shadow. These cages then go through a process of hybridization where the shadow takes within its folds characteristics of the armament it cages. It is therefore a case of fold upon tank and tank upon or within fold. Each cage captures the shadow in itself, caging its essence in its fictional embodied/represented state.
(Left) Historic images of military parades on Plac Defilad. The area surrounding the Palace of Science and Culture in Warsaw is still a place filled with political tension. (Below) The 3 dimensional hourly shadows isolated and overlapped. (Right) Narrative sequence of a fiction: war against a shadow.
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8 mario andrÊ kong (Left) Sequence of a folding shadow deleting in overlaps creating a shadow-cage. (Above) Unfolded shadows of the city -peeling the city’s shadow face, lifting its textures and informations. (Right) Diagrams showing the destructiive folding concept. Constructiing a narrative by disfiguring another.
10 mario andrĂŠ kong (Left) The series of 11 shadows unfolded and refolded around the proportions of 11 vehicles that were historically present on Plac Defilad. (Top of page) Cages within Warsaw - the fictional proposal for shaodws to be folded to their furthest point of reach. (Above) Maquette of a textured shadow refolded and reconfigured. (Right) Architect as shadow catcher - the process of folding - intervention and imagination.
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(Left) Model for cage 9 - The interface between shadow and city is materialised, picking up the textures and is unfolded, refolded around the no longer present tanks, deleted and reconfigured telling the story of a destroyed soviet shadow. (Right) Progressional perspectival sections through cage 9 showing the hybridised nature of shadow upon tank and tank upon shadow.
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The project never returns to the realm of the real. Instead it speaks of an architectural exploration of folding the immaterial- the shadow and its oppression over Warsaw. It remains fiction.
18 mario andré kong Praktyki
Fikcji|cień
21 Jul składanych
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10
Dec
2015
Taking fiction one chapter forward: Curating a fictional exhibition of the concept of folding the shadow of the palace for the planned Warsaw Museum of Modern Art on the same ground where the shadow falls - Plac Defilad.
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grubnide fo ytisrevinu
nok ĂŠrdna oirĂĄm
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