Ant贸nio Brigas portfolio
Personal Information Name: António Brigas; Age: 25, 1988; Nationality: Portuguese; Address: Rua Luís de Camões, Lote 27, 3º D, Faro, Portugal; Email: abrigas@outlook.com
Skills Languages Portuguese (native speaker); English (fluent), German (A2.2 certificate), Spanish (oral fluency);
Software: Adobe InDesign (+2year), Photoshop(+6years), Illustrator(+2years), Autodesk AutoCAD(+6years), Revit(+3years), Rhinoceros, Google Sketch up; Microsoft Office and OS, Mac OS.
Awards and competitions International Competition of Ideas, 2013 Fundación Eduardo Torroja, La vivienda del futuro (house of the future); Final stage, Zukunft Whonen (Living in the future), IBA Hamburg, Alemanha 2012;
Work experience
Education
10/2013 until today: Architecture internship and Architect. Conception, building approval and practical completion of various architecture projects, at Ressano Garcia Arquitectos
2011-2012 Master Architecture, ERASMUS exchange program- average 1.5 (A); Hafen City Universität, Hamburg, Germany;
2013 until today: Graphic design. Co-edition of graphic material, for iwinPRESS; 2011-2013: Renovation of an 90 m2 apartment. Interior design, drawing and execution of furniture, drawing and execution of electric systems, piping, insulation and pavements, for Amadeu Brigas;
Final stage, Teatro de rua, CCVF, Guimarães 2010; Schindler Award, Olympic park design, Berlin 2010; GoArchitecture, Porto 2009; Honour certificate, (high school), Faro 2005;
2007-2012 Master Architecture; Universidade do Minho, Guimarâes, Portugal;
Winner and world representative for Portugal, Journé Moundiale Poesie Enface, 1995;
04/2014 Low Cost Rehabilitation in Small Sized Buildings; Ordem dos Arquitectos Secção Regional Sul, Lisboa, Portugal;
Interests: Drawing body and space, thinking
and writing critically about architecture, design and construction of furniture, graphic novels, cinema, piano and jiujitso brasileiro;
In this portfolio I present a selection of my academic work. I hope you can see some passion and dedication in the following drawings and that some of the forms, atmospheres and questions interest you. Besides the work here shown, the portfolio refers to a work process that was transversal to the projects here presented, even if sometimes unconsciously. This process has to do with the questions that lead to the project, become project themes and destroy initial preconceptions. Using this as a narrative, I formulate the questions that accompanied the projects and which I felt had an influence into the final result, even if they don’t have a concrete answer. In this way there is a parallel narrative to the projects that tries to make the whole bigger than the part, correlating them.
ZENTRAL UND LANDS BIBILIOTHEK Berlin, Tempelhof
TAL VEIGA TALVEGUE, LANDSCAPE Guimar達es, Portugal
FRANKENST UTOPIA
TEIN HOUSE
STREET THEATRE CONSTRUCTION/DETAIL Guimar達es, Portugal
DRAWING NUDE AND SPACE
Should Tempelhof Airport be urbanized ?
Tiergarten
Tempelhof airport:
GLOBAL SCALE URBAN SCALE
STATE SCALE
new ZOB
The void in scale that is an airport has to find a scale and a use i
in the city. GLOBAL to LOCAL
Zentral und Lands Bibliothek
Berlin, Tempelhoff The library lifts itself giving way to the free skyline that is Templehofer Park. The pregnancy of the library and its form rejects the urbanization the park and affirms 400 km2 of an emptiness that’s not of life or function. The library as “the last truly public program” (Koolhaas) participates in the progressive opening and connection on the various scales of a park affirming it as public. Covering Tempelhofer Park, the ground of the park becomes the centre of the library where park and library usages are made indistinguishable. The building placement aims to catalyze new local, urban and global connections for Tempelhof: make the already planned opening of a metro station/Zob (bus terminal) inevitable; solidify a relationship with New Köln, a dense and problematic area of Berlin; create a local connection through pre-existing sport facilities and pathways.
dark block. This block stores 4,5 million books in a spiral and also gives form to the main library entrance. The 2000 daily visitors can also enter directly through the reading rooms in Tempelhof that are structural blocks of concrete and glass. Solving access and distribution, they go through 3 levels of books and silence to support the building’s permeable skin. These blocks correspond to the overlapping of discrete study areas joining their discussion rooms, informal reading and group work rooms. Furthermore, they serve as light shafts illuminating all functions related to output and noise. Contrastingly, Input areas have a controlled light and are surrounded in silence that protects exposed books and study areas.
Opening Tempelhof’s the old freight train line or a bus system connects the A self supporting skin that regulates emergent functions and events of the light, hides 65.000 m2 of a complex program that organizes itself around a park.
Berlin plan, superimposed with inhabitant density
BOOK PATH A continuous ramp of enclosed books enables an always relative and growing book organization.
The knowledge areas are continuous with each other, stimulating interdisciplinary use and search. A mixing chamber is the confluence and redirection point. Reference to Seattle Library, by OMA.
Exposed books directly relate to enclosed books in a fluid balance. They are all spatially catalogued in the continuos metric system.
In the intersection of knowledge areas, there are voids (in red) that mark discussion, noise and interdisciplinarity.
All books are organized in the metric cataloguing system.
How should a library reflect the change in the
These voids are structural and alternative direct entrances.
INPUT and OUTPUT o
DISCUSSION PATH
of INFOMARTION ?
Floorplan
View from ground level
A A B C D E F G
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H G F E D C B A
View from reading room-ground level
NOISE and Discussion belong in Libraries?
Silence
INPUT Noise OUTPUT
Section E’
The Frankenstein´s House A self-portrait of living “The potentialities of thinking architecture from its images assumed as a purpose on themselves, this is as means to an end and as an end in itself, radicalize a posture that distances itself from the almost unquestionable need to formalize architecture.”
Pedro Bandeira
The exercise was a process of individualization and subjectivation of the ideal of inhabiting. A self-portrait house not thought from the whole towards the part but gathering and confronting its fragmentary and contradictory parts, the living verbs. Each week a new verb was introduced (the parts) and with it a subjective and intimate question as “what is your ideal place for washing?”. The question was formulated through an image, more as a provocation of an idea of space then as an illustration of a given formalization. With the surprise that in the end ideal doesn’t necessary mean utopia and that you can reach it through the atmosphere and design, the dissimilar verbs of living were materialized in a functional whole, the Frankenstein house. The exercise baffled me with the introduction of the first person in my architectonic discourse and pointed directions towards looking at the house and architecture with an almost phenomenological subjectivity.
Exploded model: north facade
The project assembles the verbs, idealizations of inhabiting, by suspending them in an undifferentiated grid of 2.40 per 2.40 meters. Between a cliff that could be from an island in Capri and a pulsating city, the house moves between two antitheses turning verbs where she wants, with caprice. The whole house is pierced by the structure grid, by a labyrinth that touches the street and extends itself to the room above, articulating and multiplying relationships of privacy, access and proximity. An hydraulic elevator that is a space of its own (2 per 2 meters), subverts the logics of the labyrinth by puncturing through it.
If each of us is many can our house be many too?
Verbs
Remembering the sunny afternoons spent in this lively courtyard balcony in Guimarães, I couldn’t picture a
to wait
better space and escape the functionalization of life. “In the wildest and most dramatic part of Capri (...) where the islandloses its human qualities and turns wrathful, where nature reveals itself with cruel strength (...). No other place in Italy has such a broad horizon” Curzio Malaparte
sleep
in a bed that is big again, as when I was a child. The whole I floor is a big bed where I can sleep, move and wake up in a different side then the one I felt asleep in. The room up there is a skin too sensible to what happens in the outside, and the bed is a room inside a room, where underneath all the blankets there is a feeling of protection and rest.
Hospedar
Can the ideal house be the one we live in dysfunctional spaces be perceived as ide role of “habit” in formulating what is ide in its complexity, be ideal? Here, I presen the space
to excrete. I would change
“escrever é um acto de solidão” “O escritor é um Homem entre os Homens”
António Lobo Antunes
António Brigas
To plant
A place for you, António Lobo Antunes. So you can feel lonely. Not a loneliness of despair or sadness, but a known loneliness,
almost a comfortable one, perhaps the solitude of writing. So you can be a Men amongst Man, seeing them, following them, almost touching them, but deaf to what they say, to the sound of their steps and their voices. It is just glass separating you, but your breath, the soft creak of the wooden floor, the tinkle of your cup of coffee deafens everything else. They go by without seeing you. You are one more contemplating humanity, unnoticed, in what could be any other coffee shop, in any other street in any other city. Can we be happy so?
Minotaur Labyrinth Folorence, XVI century
um labyrinth that grows upwa house. A labyrinth where I can loose myself. Loose my house. Step back from the house whilst in it and find it in a different way. Loose myself by multiplying pathwa places that I don’t control and where I don’t always wa the domestic space. Going through the labyrinth in a an hour, it can be purely functional or recreational and It brings back to the house the representation of the sh primitive, and of the minotaur that is (lost) in all of us.
criating
“The role that bathing plays within a culture reveals the culture´s attitude toward human relaxation.”*
I see the act of as a continuous process, one of many spaces, transitions and mutable relations between the information trying to be conscious and subjective.
bathing
n? Why can eal? What is the eal? Can reality, nt my bathroom, nothing.
One is reborn in . This regeneration implies change. You enter and exit in a different way, changed. Going back in the history of regeneration* the Sauna and frigidarium are retrievals of bathing in the domestic space. The sauna as a time for pausing before bathing, the frigidarium as a cold dive after a hot bath. While diving, time and environment alter themselves, completing the cycle. All bathing is connected with the roughness and touch of stone, in a space full of vapors and shadows where one gropes his way through, engulfed in warm water with closed eyes.
Northern Syria,“eastern regeneration types” in *The mechanization of the bath, Mechanization Takes Command, 1975, Sigfried Gidion
The space for creating is composed by 3 different moments. One is a space to accumulate references in moving shelves, in order to be able to change proximity relations between objects. Another moment is an overhanging space looking over the previous references, controlling and crossing them. An industrial elevator which holds a desk connects all moments as well as the rest of the house and completes the space.
ards through the yself in my own t (and myself) ays, have dark ant to go to in minute or in d disconcerting. hadow, of the .
dialoguing
happened in an isotropic space, that fosters What if objects, means, excuses and dialogues? They could be piled up, one at a time, in a palimpsest of memories of conversations and confrontations, held on a space that suspends dialogues in the air, as in a chess game that waits for the next play.
With a high ceiling and distant windows, it gains an interior quality, as the Silver Factory (Andy Warhol, 1933), of making different objects stand out and at the same time wrapping them as a whole, thick but closely knit . Alcohol on top of books, a scooter leaning on to a piano, Velázquez competing with a television. They change space by confronting and recording dialogues.
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How can architecture invoke the “difficult unity of inclusion rather then the easy unit of exclusion�? (Venturi)
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Exploded model: Southeast view
Agriculture Reserve of Veiga de Creixomil
Talvegue, Tal Veiga.
Small agriculture parcels
Structuring thalweg
Ribeira de Couros
An intervention for a specific way of loonking
waterfalls and drainage basins (to control sediments and water pollution). Wood stakes further solidify the In the Valley of Ave, along 52 acres spreads a pa- margins and can be associated to elevated pathways. tchwork quilt, the agriculture reserve of Veiga de Creixomil at the doors of Guimarães, Portugal. The Val- Going through and observing these landscape units, ley of Ave, which fosters the city of Guimarães, is a we induce a way of looking which is transversal to continuous and disperse urban sprawl, where houses, Veiga and that expands it and makes its limits subfields, factories and highway intersections mix without jective. Through this specific look, the observer takes once again part of the conceptions and construction of prejudice abolishing defined limits. landscape, diminishing “frames” and limits. This will From a critical analysis of the substrates of this terri- broaden the relationship between individual and tory, we have interpreted a set of successive superimpo- landscape (Cosgrove). sitions to the hydrographic and agriculture substrates, the essence of Veiga: a floodable, cultivated and fertile plain. Highways, housing and big infrastructures were juxtaposed and have enriched Veiga but also defined its limits making it a “recognizable slice of land”, a floodable island with doors. These substrates in their - Housing; superimposition and interconnection constitute the - Main road (national) -Shopping Guimacontemporary identity of Veiga, running away from its rães; patrimonialization and death as a changing urban ter- -Big commercial equiritory. pments;
Entrance Guimarães
We propose a specific way of looking at the landscape
Thalweg
1. Longitudinal outline from a riverbed from source to mouth. 2. Line of steepest descent from any point on the land surface.
Veiga: Synthesis plan
through water lines and thalwegs, that can be a string that stitches conceptually the landscape without segregating or stabilizing its eminent change. We found in thalwegs the landscape units that build a different way to look. The thalweg treatment is the anchor for an intervention that stitches the various layers (present and future) to the hydrographic and agriculture network. Beyond our intervention, we were interested in a modus operandi, one that embodies the subjectivity inherent to choosing the thalwegs to work with and that absorbs future interventions. Therefore, thalweg treatment is done by removing piping and exposing the water (to reduce flooding), planting Carpin Vetiver or vineyards (to consolidate and reduce erosion) and creating small
-Multifunction pavillion; -Sports equipments; -Municipal pools; -Private hospital; -New municipal market; -Tannage factories; -Higways Porto/Guimarães/Valença;
General section: Thalweg treatment
Intervention guidelines on thalweg lines Biological lines
- treat water passage areas; - force sediment retention; - create vegetation corridors; - allow foot access to thalweg lines.
River treatment
- reduce erosion; - observation platforms; - define river limits.
Remove piping areas
- oxygenate water; - show their path.
Interpretation of an identity by the superimposition of its substrates
Schemes
a. water lines and associated parcels
b. thalwegs as structure
c. thalweg lines transversal to Veiga
Thalwegs
What is the contemporary identity of Veiga? d. reorganization of circulation routes
Landscape units: The Highway fracture “ A dual view of landscape, specially explored in modernism, suffers today from a rupture due to a density of uses and a fragmentation of the landscape that breaks landscape continuities. Many contemporary authors (...) try to rediscover continuities in landscape. This search is seen in the treatment of many images with a relationship between the first plane and the horizon, trying to unite them visually or conceptually� Vincenzo Riso Applying the general guidelines to a specific landscape unit, we wanted to: -Recover the relationship between inhabitant (top) agriculture (valley), assuming Veiga as a landscape by and for the inhabitant and affirming continuities in landscape through the thalweg: Biological lines, pathways and prospect areas. -To accelerate the usage and soil recovery by integrating the highway and the grades created by it as an integral and dynamic area of Veiga.
Thalweg that stitches the highway to Veiga
Thalweg and highway. Synthesis plan
Regeneration process
2004
2010
2006
1:500 C
Agriculture fills the Agricultura preenche o terreno devoluto vacant terrain.
Public p煤blica woodspreenche fills the Floresta o terreno devoluto vacant terrain.
Stitch and regenerate: Bird view
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Ant贸nio Brigas
wooden pathway
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thalweg 1:500A
1:500 B
Sections along thalwegs
1:500
The theatre criticizes and questions the historic city
Street Theatre Guimar達es
enas parcelas agriculas
stairways that support or are supported by the living roof. When the theatre sleeps, the roof closes itself, the storage is locked and everything else is left to who passes by.
“It is always the popular theatre that saves the day. Through the ages it has taken many forms, and there is only one factor that they all have in common — a roughness. Salt, sweat, noise, smell: the theatre that’s not in a theatre” in The Empty Space, Peter Brook The theatre is a street with an inhabited roof. This roof has a (formal) stage,
rehearsal and dressing rooms and equipment. The street underneath can give way for audience benches and lets you peep through the storage below. The street grows upwards through cranes and pulley-wheels, spotlights and dark curtains, platforms and metal
Whoever passes through the new alley between a beautiful square and the historical houses can see the theatre company: A Oficina. They asked for a building that allows performances, experimentations and rehearsals in a small parcel in ruins, 3.5 meters wide between too facades in the urban grid of the historic center of Guimarães, UNESCO world heritage. In this patrimonialization context, the project claims for “its place in time” in the renovation of historic centers. A historic facade to the square is the only preexistence of the parcel. The roof stands back presenting the facade as an object of a theatre play, a scenery. It is a critic to the “rehabilitation” taking place around it, turning inhabitants into actors of a big play. Choosing light and dry construction systems (steel beams and pillars, corrugated zinc as ext. coating, etc.), the theatre tries to reflect its ephemerality by thinking in its deconstruction and referring to the rebuilding process taking place in many of the parcels around it.
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The facade is a scenery
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Usage schemes
Floorplan , 1:200, 1m
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT PRODUCED AN AUTODESK EDUCATIONAL PRODUCT PRODUCED BYBY AN AUTODESK EDUCATIONAL PRODUCT
B
practice stage
basement plan storage room
Inhabited roof/ individual rooms/ practice stage
Plan, -1 m
Section B
practice stage
C
Plan, 5 m
Section C
individual practice rooms D
Roof view
Section D
E
Longitudinal section
View from stage
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT
Section C; 1:40 Practice rooms
Guillotine glass doors allow full opening
Zoom A; 1:20
Zoom B; 1:20
Detail of south facade; 1:20
South facade
DRAWINGS
Thank you.