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August, 2010 to August, 2011 Univer sidade Técnica de Lisboa (FA-UTL) Exchange in the Faculty of Architecture and Urbanism - Lisbon / PT
PROFESSIONAL EXPERIENCE June, 2015 to January, 2016 | MI / IT Wor k at Ar che Associati Development of interior and exterior project of a residential building in Milan. March to June, 2014 | RJ / BR Pr oject ar chitect of medical clinic Development of interior projects and monitoring of work. May to December, 2013 | RJ / BR Inter nship at Constr utor a Concal Monitoring work in residential building. April to October 2013 Par ticipation in exhibition pr ojects pr esented in the Bienal of Ar chitectur e in São Paulo, Br azil October, 2012 to June, 2013 | RJ / BR Inter nship at EMAU (Escritório Modelo de Ar quitetur a e Urbanismo PUC-Rio) Development of interior projects and monitoring of work. February to October, 2012 | RJ / BR Inter nship at Futur oLugar Development of interior projects and monitoring of work Development of urban projects. January to July, 2010 | RJ / BR Inter nship at Ivan Resende ar quitetur a Development of interior projects and monitoring of work.
EXTRACURRICULAR ACTIVITY CERAMIST
SOFTWARES SKILLS AUTOCAD SKETCHUP
LANGUAGE SKILLS PORTUGUESE ITALIAN ENGLISH
REVIT ARCHICAD PHOTOSHOP ILLUSTRATOR INDESIGN
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SELECTION OF PROJECTS
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Kenzo store
1
Florence Design Academy | May 2015
The spiritual project: “The six senses in the Architecture”
2
Florence Design Academy | March 2015
Orphanage: “The problem of temporary / permanent in shelters for children”
3
PUC-Rio | December 2013
Santa Teresa’s restaurant
4
PUC-Rio | December 2012
Residencial | psychologist office
5
PUC-RIO | March 2012
Analysis of Robert Smithson
6
PUC-Rio | December 2011
As a main concept I want to represent the statement from Kenzo, which is “West meets east.”. The brand wanted to combine natural Japanese items with the Parisian culture, which comes from the early days when Kenzo and Louis Vuitton worked together. Since they used all kinds of prints, ethnic vibe and the signature poppy flower we want to represent these characteristics in our space. I looked into Japanese culture and saw the typical western print: straight lines and repetition of simple motifs. So, I combined some of these influences in order to create a layout that includes Kenzo´s emblem, the poppy flower.
MERCHANDISE
50% CLOTHES 25% BAGS AND SHOES 15% PERFUME 10% ACCESSORIES E JEWERLY
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Section BB’
Section CC’
Section DD’
Kenzo store
1
Florence Design Academy | May 2015
The spiritual project: “The six senses in the Architecture”
2
Florence Design Academy | March 2015
Orphanage: “The problem of temporary / permanent in shelters for children”
3
PUC-Rio | December 2013
Santa Teresa’s restaurant
4
PUC-Rio | December 2012
Residencial | psychologist office
5
PUC-RIO | March 2012
Analysis of Robert Smithson
6
PUC-Rio | December 2011
CONCEPT: In our current culture, peace and quiet are the main victims of the industry focused on stimulation. Every day we are bombarded by images, sounds and other stimulus, which suck us into other realities that don´t belong to us. The power of a single image is able to alienate us from where and what we actually are .
That said, the idea with this project was create a place to find the so called “inner peace” by leaving out all material values away from us. Therefore, I worked combining ideas regarding the 5 human senses, which turned out to be a creation of one pavilion for each one of these senses.
Amazon rainforest: The pavilions will be located right in de middle of the world´s biggest rain forest: the Amazon. The structure will be constructed using the spaces between trees, so that the native nature can be included on the project. None of the trees would be cut, of course.
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First Pavilion
Second Pavilion
SIGHT PAVILION The first pavilion will be dark so people have to rely on their other senses to move around, contrasting with the second pavilion, which is made out of glass to optimize and the view of the amazon rainforest.
Second Pavilion
First Pavilion
SMELL PAVILION I want to ask people to not put on any perfume, so that we minimize all smell inside the rooms. In the second pavilion there will be many different kind of smells, from natural products that we can find in the forest.
Second Pavilion
First Pavilion SOUND PAVILION Here the idea is playing with soundproof panels. The first pavilion will have no external sound, being very quiet and silent. In the second pavilion there are some holes in theirs structure so visitors can hear and experience the sounds that the nature provides.
Second Pavilion
First Pavilion TASTE PAVILION: In the first pavilion there will only be the possibility to drink water, since this is tasteless. After the water introduction-taste will be a selection of tropical fruits that can be found in the rainforest.
Second Pavilion
First Pavilion TOUCH PAVILION: In this pavilion the focus is on the experience on how people can feel. In the first pavilion everything is made of the same material so we can only focus on other senses such as the sound of the nature, etc. The second pavilion has different textures so people can feel around and really appreciate the feeling.
Kenzo store
1
Florence Design Academy | May 2015
The spiritual project: “The six senses in the Architecture”
2
Florence Design Academy | March 2015
Orphanage: “The problem of temporary / permanent in shelters for children”
3
PUC-Rio | December 2013
Santa Teresa’s restaurant
4
PUC-Rio | December 2012
Residencial | psychologist office
5
PUC-RIO | March 2012
Analysis of Robert Smithson
6
PUC-Rio | December 2011
The public meant for the project is underutilized. The total area has 3000 m2, but from those only 500m2 has a regular occupation. Furthermore, ground’s arrangement is quite interesting for its shape and different possible entrances, favoring the project’s flexibility. INTERIOR VIEW
EXTERIOR VIEW
The ground´s choice, located in Tijuca, in Rio de Janeiro, took into account different factors, but mainly the proximity to public schools and important stores - such as supermarkets, pharmacies and public hospitals - as well the easy accessibility to the area by public transportation metro, bus and train.
Having started with the whole orphanages questioning, the idea is to create an alternative and permanent model, which should be less dependent on adoptions. With this model children would not feel the stay in such a place as a simply waiting for adoption, but would appreciate their time there. On the other hand, apparently contradictory, we can think that from the creation of this permanent location increases the possibility of adoption, since shelters with this lack of structure often provide a fragile and precarious socialization which can contribute to the difficulty of adoption. This quality improvement is responsible for the possibility of integrating children residents of the shelter with the students and residents of the area, creating public spaces, with courses and interactive areas, enabling this integration inside the shelter, but without creating the space that enable the young resident of the shelter to stay all the time in this place. Therefore, the choice to not create a school, making the integration of these children is required with the other students.
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Two divisions of space, marking public, semi-public and private space.
One division of space, marking public and private space.
One division of space, marking public spaces and semi-public.
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First floor: 4 bedrooms for each 3 children. –
Second floor: Dormitory social parents + Cozy space for studying • 1 social father for every 6 childrens.
Third floor: 4 bedrooms for each 3 children. –
Individual modules, allowing identification child with your space intimate.
Kenzo store
1
Florence Design Academy | May 2015
The spiritual project: “The six senses in the Architecture”
2
Florence Design Academy | March 2015
Orphanage: “The problem of temporary / permanent in shelters for children”
3
PUC-Rio | December 2013
Santa Teresa’s restaurant
4
PUC-Rio | December 2012
Residencial | psychologist office
5
PUC-RIO | March 2012
Analysis of Robert Smithson
6
PUC-Rio | December 2011
Although the district of Santa Teresa has a peculiar history of housing and a great tourism potential, suffers with the public abandonment. The idea of revitalization and reuse of this area has been much worked. After a short analysis of the neighborhood, I made the choice of the ground to be reused, located on Taylor Street. Project's main challenge was finding a solution for the recovery of a building, which has a precarious conservation since a fire in 1994, when part of the building was totally destroyed. Besides, for being bellow the street level, the ground also suffers with the lack of ventilation, further exacerbated by the architecture of the house, which, for example, has no windows on its main facade. After some studies of reusing the space, was concluded that use it as a restaurant would be the best solution, since that was also the property owner’s for his place. As the main idea is to recover the ground without uncharacterized it, the most striking existing elements were utilized in the new project. Once stabilized, the facades were maintained with the initial appearance and we chose to remain the burned area empty. Besides, part of neighbor´s ground, which has a beautiful big tree, was incorporated into the project, making the environment more pleasant and harmonious. That said, forms of available space were studied. The main entrance was kept in the same place, taking advantage of ground´s topography to build a stairwell that provides access to both open side and main hall - on the lower level, as for the entrance at the street level. On the second floor we have the service area of the restaurant, as well as the kitchen and the warehouse. The administrative area is located on the top floor, where there´s also a bar, providing a nice and cozy space to appreciate the view from the top.
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Section AA’
Section BB’
Kenzo store
1
Florence Design Academy | May 2015
The spiritual project: “The six senses in the Architecture”
2
Florence Design Academy | March 2015
Orphanage: “The problem of temporary / permanent in shelters for children”
3
PUC-Rio | December 2013
Santa Teresa’s restaurant
4
PUC-Rio | December 2012
Residencial | psychologist office
5
PUC-RIO | March 2012
Analysis of Robert Smithson
6
PUC-Rio | December 2011
CLIENT PROFILE Theo is a 60 years old psychologist who works at home. He is a serious man and his house reflects that. His daughter Malu is 25 years old, lives with him and always complains that the house is very dark and heavy. He likes the house as it is, but agrees that it is a bit too dark and wants to please his daughter. Furthermore, he believes that this change can improve his work environment so I decided to make a reform in the room and the office where he works to reconcile the two styles, making these spaces younger and clear. DESIGN OBJETIVE
DIMENSIONS
- Turn the house into a lighter space. - Have a functional space, both to get the clients and to inhabit.
- LIVING ROOM: 4.00M X 4.00M -HOME OFFICE: 4.3M X 5.00M
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HOME OFFICE
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LIVING ROOM
HOME OFFICE
Kenzo store
1
Florence Design Academy | May 2015
The spiritual project: “The six senses in the Architecture”
2
Florence Design Academy | March 2015
Orphanage: “The problem of temporary / permanent in shelters for children”
3
PUC-Rio | December 2013
Santa Teresa’s restaurant
4
PUC-Rio | December 2012
Residencial | psychologist office
5
PUC-RIO | March 2012
Analysis of Robert Smithson
6
PUC-Rio | December 2011
ANÁLISE SOBRE ROBERT SMITHSON Quando entrei em contato pela primeira vez com o trabalho de Robert Smithson me perguntei que obra era aquela, como classificá-la e quais eram suas intenções. Em um primeiro momento questionei se o que estava vendo poderia ser considerado arte e, a partir deste ponto, surgiu uma primeira pergunta: o que podemos chamar de arte? Considero que a arte está sempre ligada a uma intenção e a uma investigação. Seria, portanto, capaz de instigar de alguma maneira quem as observa. Podemos pensar que o que vemos quando admiramos uma arte depende da nossa experiência e conhecimentos, da nossa disposição no momento, imaginação, e então, está intrinsecamente ligada a valores estéticos, que sintetizam emoções, história, sentimentos e cultura. Com isso, acredito ser relativo o conceito de arte. Para Eça de Queiroz, em 'Notas Contemporâneas' “A arte é tudo porque só ela tem a duração e tudo o resto é nada!”, ou seja, para o escritor o que ressalta na arte é o seu caráter perene. Poderíamos então chamar de arte as obras de Smithson, que não são perenes, ou seja, não são eternizadas? Numa direção completamente oposta, o pintor Marcel Duchamp, um dos líderes do movimento dadaísta, iniciado na década de 1910, faz uma arte que se apóia na contestação de toda a expressão artística tradicional. Neste sentido, passa à produção do ready-made, ou seja, a transformação de objetos comuns em manifestações polêmicas. A contestação na Modernidade parece estar sempre presente na produção artística. Por exemplo, o impressionismo nos anos 60 e 70 do século XIX, enfatizando efeitos de cor e luz, pretendia assinalar o fato de que a realidade se encontra em constante mutação e que a pintura deveria ser capaz de traduzir essa mudança. No final do séc. XIX/ início do séc. XX, o expressionismo, com suas imagens distorcidas e provocativas evocava os problemas sociais, morais e religiosos, expressando uma crítica política à sociedade. De qualquer forma, apesar do caráter de mudança, os artistas ligados a esses movimentos não discutiam a relação da obra de arte com o espaço em seu entorno. Para todos, parecia inevitável que as obras fossem expostas em galerias de arte ou museus. Robert Smithson inova no grau de contestação que faz em relação à arte e se alinha com o movimento da Land Art, que surge em finais da década de 1960, decorrente de uma insatisfação crescente da monotonia cultural causada por essas tradicionais categorias de arte. Smithson, em uma
entrevista, afirma que “Os museus, assim como os asilos e as prisões, têm pavilhões e celas –em outras palavras, salas neutras chamadas de galerias. Ao ser colocada numa galeria, a obra de arte perde sua carga e torna-se um objeto ou uma superfície portátil, separada do mundo externo.” Nos trabalhos de Smithson, pode-se perceber uma forte preocupação com a cultura industrial dos anos 70 e, portanto, com questões ligadas à ecologia. Em um fragmento de seu livro “Entropy And The New Monuments” (1996) , Smithson diz: “Ao invés de nos conduzir à lembrança do passado, como fazem os antigos monumentos, os novos monumentos parecem nos fazer esquecer o futuro. Ao invés de serem feitos de materiais naturais, como mármore, granito, ou outros tipos de rochas, os novos monumentos são feitos de materiais artificiais, plástico, cromo e luz elétrica. Eles não são construídos para as Eras, mas contra as Eras. Eles estão antes envolvidos no fracionamento sistemático do tempo até as frações de segundo, do que na representação de longos espaços de séculos. Tanto passado como futuro estão posicionados em um presente objetivo. Esse tipo de tempo tem pouco ou nenhum espaço; ele é estacionário e inerte, está indo a lugar nenhum, é anti-Newtoniano, assim como é instantâneo e vai contra as rodas do tempo.”. Assim, o trabalho de Smithson questiona o mundo do século XX, que se caracteriza pelo avanço desenfreado do sistema industrial e tecnológico, causando graves problemas ambientais, e pela alienação de uma população que assiste de braços cruzados a tudo isso. Seu trabalho tem a capacidade de questionar a observação e investigação do espectador. Os lugares apresentam-se como monumentos da natureza, como dimensões de espaço e tempo que estão além da experiência cognitiva individual. Sua obra não procura se adequar ao lugar, mas confrontar o observador com a complexidade e instabilidade dessas configurações gigantescas. A partir daí sua obra, a meu ver, pode ser considerada uma arte. Em seus trabalhos há uma busca pela renovação estética na arte através de grandes intervenções em espaços abertos, colocando em questão a articulação entre obra e espaço que a circunda. Estes passam a assumir o caráter de topografias ou geologias artificiais e integram freqüentemente as qualidades físicas e os acidentes naturais dos lugares onde se inserem, utilizando-se dos próprios materiais da natureza para a construção de seu trabalho, podendo ser associada com a Lei de conservação de massas de Lavoisier, que diz “na natureza nada se cria, nada se perde, tudo se transforma”. São lugares de maior indeterminação e que por isso oferecem maior grau de liberdade (o que Robert Smithson denomina non-sites).
Deparo-me, portanto, com outras questões: a partir do momento que Smithson trabalha com a intervenção do espaço público, com a exposição de seu trabalho, não poderíamos classificar esses novos objetos de arquitetônicos, já que passam a ser novos componentes do espaço? Como entender as diferenças entre paisagem e arquitetura? Considera-se paisagem o resultado material de todos os processos (naturais e sociais) de um determinado local. A paisagem é portanto construída a partir de todos os elementos presentes no determinado ambiente. Já a arquitetura pode ser definida como uma intervenção no habitat para satisfazer uma determinada expectativa, de forma a criar novos espaços. Na concepção do arquiteteto Lucio Costa "Arquitetura é antes de mais nada construção, mas, construção concebida com o propósito primordial de ordenar e organizar o espaço para determinada finalidade e visando a determinada intenção. E nesse processo fundamental de ordenar e expressar-se ela se revela igualmente arte plástica.” Acredito que a obra de Smithson seja uma forma de pensar arquitetura, já que está intervindo no espaço e, de certa forma, ordenando e organizando o ambiente, apesar de não utilizar de novos elementos para sua produção, mas não seja um trabalho arquitetônico propriamente dito por não pertencer, já que é perene, ao local.
Nome > Carolina Maiolino de Queiroz Data di nascita > 12/11/1988 NazionalitĂ > Brasiliana / Italiana E-mail > maiolino.carol@gmail.com Telefono > (+39) 349 6976643