Work Portfolio by Diogo Pereira

Portfolio Diogo Pereira

Diogo Pereira, 1983

Portuguese architect with Master Degree in Architecture from Universidade Aut贸noma de Lisboa (2009) and Bachelor in Journalism from Universidade Cat贸lica de Lisboa (2003). Currently working in Berlin at Raumtaktik - Office From a Better Future, focused on architectural publications, curatorial work and exhibition design. Invited to write an article for PIN-UP MAG, Religion, published in current issue. New york 2010, worked for Urban A&O, a studio based in Manhattan mostly interested in parametric modelling, designing the exhibition, Innovate:Integrate for Center for Architecture. After, collaborated with Loadingdock5, a Brooklyn based studio, on the International Competition, Place Lalla Yeddouna, A Neighbourhood in the Medina of Fez, Morocco. Lisbon 2009/10, worked for Org芒nica Arquitectura, a studio with a multi-disciplinary approach interested in exhibitions and international competitions. Also invited to work on an article Cova da Moura, issue Ser Imigrante for J.A. - Jornal dos Arquitectos, (Portuguese College of Architects Magazine). Barcelona 2006/7 during my Erasmus Program, worked for OPR, a de-localizated studio which leans on three Cities (Lisbon, Barcelona, Luanda) connected all the time.

Index

Raumtaktik................................................................................5 Heinrich-Bรถll-Stiftung................................................................7 Energieberg Georgswerder Competition...............................21 Loading dock 5.......................................................................31 Place Lalla Yeddouna Competition.........................................33 Urban A&O.............................................................................43 Innovate:Integrate for Center for Architecture........................47 Organica Arquitectura............................................................55 Architecture Triennial Competition for EDP.............................57 Pin Up.....................................................................................61 Religion...................................................................................63 J.A. - Jornal dos Arquitectos..................................................65 12 Houses in Cova da Moura.................................................66 & Collaborations.....................................................................77 Cv...........................................................................................79

RAUMTAKTIK - OFFICE FROM A BETTER FUTURE http://www.raumtaktik.de/ 2011, Berlin Collaborator, January-July

Studio Information: Raumtaktik (spatial tactics) – spatial intelligence and intervention, deals with the production of space, its conditions and its ecological and political parameters, which determine the composition of architecture and urban development. Raumtaktik focuses on themes like globalisation, migration, ecological transformation, commercialisation, eventisation and the activation of urban space. In 2003 Matthias Böttger and Friedrich von Borries founded raumtaktik. Since 2010 Matthias Böttger directs raumtaktik with Stefan Carsten and Ludwig Engel. Friedrich von Borries is available at: www.friedrichvonborries.de. 2006 raumtaktik curated the touring exhibition „Fanshop der Globalisierung.” A year later, the book Space Time Play- Computer Games, Architecture and Urbanism followed, dealing with spaces in computer games. At the international biennial of architecture XI. Friedrich von Borries and Matthias Böttger were General Commissioners of the German Pavilion and presented „Updating Germany – Projects for a Better Future). 2010 Matthias Böttger directs the aut. architektur und tirol in Innsbruck. Among others raumtaktik´s works was exhibited as part of Shrinking Cities, archilab Orleans, the biennial of architecture in Rotterdam and the transmediale in Berlin.

The drawings and images are property of Raumtaktik.

AT RAUMTAKTIK - Heinrich-Böll-Stiftung

In cooperation with: Bauhaus Dessau Foundation, IZT, Heinrich-Böll-Foundation Brandenburg and Bildungswerk Berlin of the Heinrich-BöllFoundation Media partners: ARCH+, Oekom, infoRADIO Installation: raumtaktik, Berlin

International Conference: Urban Futures 2050 The Urban Futures 2050 conference takes up the threads of the “Urban Futures 2030” conference (2009) and the “Die Große Transformation – Greening the Economy” conference (2010). The aim is to inspire new thinking and practical strategies for action. Urban Futures 2050 brings together urban theoreticians, representatives of municipal governments, architects, and planners who want to help shape the transition to a post-fossil fuel era. Which visions of urban development to 2050 should we advocate? What decisions must be made right now by the principle players in cities in order to ensure a quality urban future? Can there be a productive transfer of knowledge between the very different types of cities in Europe, the USA, and in emerging countries? Who will be the agents of this change? What conflicts of interest have to be resolved along the way to the postfossil fuel city?

Project description: How European towns developed in the year 2050? What are the key levers for a successful, future urban design? What can we do today, in a institutional and individual level to implement new strategies - what we nowadays call the “sustainable” cities . How can we begin the road to 2050 active? And how we move as a society, as urban actors, creatively in the future?

For this International Conference, the Heinrich Boell Foundation asked Berlin Raumtaktik studio - office from a better future, to investigate these new responsibilities. With a team of experts and members from FACTOR N Architecture, was created a network and workshop scenarios that tried to discover alternative futures for the development of European cities in the future. The main concern was how to this with the less possible amount of garbage possible. So everything was rented out, the nets, the scaffolding and even the Y-table was made by the collective Anxious Prop reverting the money to there next project. The result of two workshops, held on 26/27 of April 2011, was recorded in a “live” document and at the end of the meeting, published. Visions for the future are like paper airplanes. You never know whether they will fly in the direction in which you throw them. The document is available for download. http://urbanfutures.fromabetterfuture.net Let your ideas fly!

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Visionen für die Zukunft sind wie Papierflieger: Man weiß nie, ob sie auch in die Richtung fliegen, in die man sie wirft. Auf den bunten Zetteln finden Sie verschiedene Visionen für die Zukunft, die im Laufe des gestrigen Tages im Szenarium entstan den. Verleihen Sie einer der Zukunftsvisionen Flügel und beob achten Sie ihren Flug. Sie werden sehen: Der Papierflieger wird an anderer Stellen landen als Sie vermutet haben.

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MitNeHMeN! http://urbanfutures.fromabetterfuture.net Hier steht die Dokumentation zum Download bereit. MitfALteN! Lassen Sie Ihre Gedanken fliegen.

network for architecture

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MitMACHeN! http://participate.fromabetterfuture.net Teilen Sie Ihre Gedanken zur Zukunft der Städte Europas mit uns.

our! y Neighb h T e v o L eger 1:

ZUsCHAUeN! http://szenarium.fromabetterfuture.net Erleben Sie, wie die Szenarien live enstehen.

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diE wElT Das 21. Jahrhundert wurde nicht das Jahrhundert der städte – es ist das Jahrhundert der stadtkrise. Nachdem man in den ers ten Jahrzehnten eine wirkliche Energiewende verschlafen hatte, schlugen Energie und Klimakrise gleichzeitig zu. Bereits 2030 sank die weltweite Ölförderung rapide, Energiepreise schossen durch die Decke. Die europäischen städte traf es viel stärker als erwartet: während außereuropäische Metropolen noch dynamisch reagieren konnten, waren die überalterten städte europas träge und unvorbereitet. Das Ergebnis: Wirtschaftsflaute, Arbeitslosigkeit, Armut. Im globalen Wettbewerb ist Europa längst von den einstigen Schwellenländern China, Indien und Brasilien überholt. Gleichzeitig rollen die ersten Wellen von Klimaflüchtlin gen nach Europa und setzen die Städte weiter unter Druck. Während Städte von Portugal bis Schweden, von Frankreich

bis Rumänien ausbluten, schaffen es einzelne Stadtgesellschaf ten, sich neu zu erfinden. Als Phönix aus der Asche läuten sie ein neues Zeitalter der europäischen stadt ein. Die Menschen dieser Städte erkennen: Wir müssen zusammenrücken, sonst gehen wir unter. Liebe deinen Nächsten! wird zur eisernen Regel. Individu alismus wird nicht geduldet. Was zählt ist das Netzwerk, nicht der eigene Profit. Das Ergebnis ist die verdichtete, polyzentrische Stadt mit erstarkter Zivilgesellschaft, hohem Verantwortungsge fühl aller, aber auch totaler sozialer Kontrolle. Die Zukunft bringt gemischte Gefühle. Auf dem Weltmarkt gibt europa nicht mehr den takt vor. Aber einige Städte haben in Europa den Umschwung geschafft. Während andere Städte vor sich hin darben, gibt es in den Love Thy NeighbourStädten Zuzug und einen neuen Boom.

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2050 sind Europas Städte keine Städte mehr, sondern eine Ansammlung von Dörfern, die temporäre Stadtagglomerationen bilden. Diese hochver netzten Urban Walking Villages sind Farbkleckse verschiedenster Couleur, in denen sich Menschen gleicher Interessen versammeln. Jedes Walking Village zieht unterschiedliche Kulturen an, die unterschiedliche Wohn und Arbeitsstrukturen entwickeln. Bewohner ziehen dazu und wieder weg, so wie sich sich ihre Lebensphasen, entwürfe und Vorlieben ändern. Menschen suchen sich Stadtteile, die von Gleichgesinnten bewohnt werden. Sie wohnen in einem Village, das ihnen zusagt und das sie zugleich prägen können – oftmals nur auf Zeit. Die Wahl des Dorfes ist somit auch Ausdruck der individuellen Vorstellung von Wohlstand und Werten. Sozioökonomische Faktoren bei der Wahl des Villages spielen gegenüber individuellen Präferenzen eine geringere Rolle. Die Kongruenz der Lebensentwürfe vereinfacht und befördert das zivilgesellschaftliche Engagement. Gemeinsame Ziele werden gerade wegen der angespannten Finanzlage der Kommunen in den Initiativen angegangen und gemein sam erreicht. Für einen Park, gegen ein neues Einkaufszentrum, für mehr Bildungsangebote, für eine bessere Verkehrsanbindung. Man pflegt, erhält und erneuert das Viertel, seine Infrastruktur und die Gemeinschaft. Trotz der hohen Individualität entsteht so ein Gemeinsinn und soziale Kohä sion, die aber eher über eine Konvergenz von Einzelinteressen funktionieren.

29 szenarium

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UNENdlichE ENERGiE Durch Forschungsdurchbrüche im Bereich nachhaltiger Energie erzeugung wurde zwar der Klimawandel nicht direkt aufgehalten, doch zumindest konnten die CO2Emissionen durch die absolute Umstellung auf regenerative Energiegewinnung eingeschränkt bzw. stabilisiert werden. es scheint zum ersten Mal seit 100 Jahren wieder die Chance zu bestehen, dass sich das ökosystem auf Makroebene erholen könnte. Andererseits lassen die Durchbrüche im Bereich der Energiespeicherung auf sich warten: Speicher und Transportmedien für den Energieüberfluss machen kaum Fortschritte, die relevanten Rohstoffe reichen nicht im Geringsten aus, es besteht weiterhin keine Möglichkeit, große Mengen von Energie über lange Strecken ohne große Verluste zu transportieren oder gar zu nutzen. Der hohe Verbrauch hat die alten Netze schnell an ihre Grenzen stoßen lassen. Die Netze wurden einfach nicht großflächig ausgebaut. Die Kapazitäten konzentrieren sich in urbanen Energieinseln, da die Energiever sorgung dezentral und nicht vorrangig zentral organisiert wird. Die städte lassen sich als räumliche Arrangements energetischer Dichte beschreiben.

AT RAUMTAKTIK Energieberg Georgswerder Competition In cooperation with: Onlab Prototypen

IBA-DOCK invited 12 German studios to participate in there latest competition. The main goal was to transform the Hamburg old famous dump into a city landmark, doing an indoor and outdoor exhibition. Project description: Information and facts stick better when embedded in emotional memory. The main idea was to explore the mountain as a programmed activity, by means of storytelling. The history and current state of the hill are to be embedded in a thrilling treasure-hunt, building up a narrative and a theatrical approach, giving the audience tasks to play in a interactive game. While performing these tasks they literally discover historical facts, different toxic wastes.... The aim is to develop an experience of thrill and surprise where the hill could be covered with information points, that are not necessarily visible, but could be indicated in a smart way... Assigning wireless points which would send information to mobile devices. Some of the tasks could be, ‘feed’ the device with energy along the way otherwise it goes out of juice - gaining points while discovering the barrels and toxic waste but also other types of information. Part one: discovering the dirty side of modern civilization. Part two: ‘producing waste is an essential part of modern civilization. We’re where we are because of that. So you can deal with the waste now or ignore it. Rather deal with it! A narrative would be built around a ‘positive thinking’, turning waste into energy & new strategies.

20.08.2011

ERÖFFNUNG ENERGIEFORUM

BEGINN DER AUFNAHMEN OLAF SCHOLZ ERSTER BÜRGERMEISTER VON HAMBURG ULI HELLWEG IBA HAMBURG

DIE LEGENDEN VOM

ENERGIEBERG

17.10.2011 VON DER MÜLLDEPONIE ZUM ENERGIEBERG

ANWOHNER BERICHTEN WAS WAR HIER VOR DEM MÜLL? HELGA SCHORS ARBEITSKREIS GEORGWERDER NN RENTNER DER DAS GELÄNDE NOCH AUS DEN 30-ER JAHREN KENNT

WINTERPAUSE

19.02.2012 ERÖFFNUNG AUSSTELLUNG IM ENERGIEFORUM ULI HELLWEG IBA HAMBURG NN LEITER DES ENERGIEBERGS

17.03.2012 AUSWANDER EINWANDERER VEDDEL UND BALLINSTADT

ANTHROPOGEOLOGIE - MENSCHLICHE SCHICHTEN NN WILHELMSBURG MIT MIGRANTISCHEN HINTERGRUND REBEKKA GEITNER HISTORIKERIN BALLINSTADT

Wie ist aus einem Müllberg ein Energieberg geworden? Wie ist er enstanden? Wie wird er genutzt? Im Rahmen der IBA Wilhelmsburg wird der Energieberg in Georgswerder ab 2012 wieder der Öffentlichkeit zugänglich sein. Neben Picknicks und Sonnenuntergängen wird auf dem Energieberg eine Ausstellungen zu den Themen Müll und Energie, Vergangenheit und Zukunft zu sehen sein. Nicht nur wissenschaftliche Erkenntnisse, sondern auch die lokale Geschichte werden in der Ausstellung eine wesentliche Rolle spielen. Welche Geschichten ranken sich um den Berg? Welche Legenden haben sich gebildet und wie vermischen sich dabei Fakten und Fiktion? Schon ab August 2011 ist das Energieforum im Betriebsgebäude am Fuße des Berges geöffnet und läd zur Auseinandersetzung mit lokalen und globalen Gedanken zu Müll und Energie. Die Ausstellung fungiert als temporärer Konferenzraum und Aufnahmestudio für Originalstimmen der

Begleiter der Geschichte des Energiebergs, Kommentare von Experten zur Zukunft von Müll und Energie und die persönlichen Wünsche und Hoffnungen der Besucher. Es kommen diejenigen zu Wort, die die Geschichte der Mülldeponie Georgswerder mitgestaltet und miterlebt haben: Anwohner, Politiker, Arbeiter, Experten der Müllentsorgung, Flächensanierung, Energiewirtschaft und Stadtplanung, Ornithologen und Gärtner, Wissen-schaftler und Praktiker, die sich mit Zukunft von Stadt, Energie und Umwelt auseinandersetzen. Aus den gesammelten narrativen Fragmenten wird ein dichter Teppich an Erzählung: Der Energieberg wird vielstimmig und multiperspektivisch in Zeit und Raum zum Leben erweckt. Wilhelmsburger, Hamburger, Touristen und Experten aus aller Welt sind eingeladen die Ausstellung schon in ihrer Entstehungsphase zu erleben und sich selbst mit ihren Legenden, Statements oder Anmerkungen zu „verewigen“. Kommen Sie vorbei!

ENERGIE

BERG

15.06.2012 TRINKWASSER GRUNDWASSER SICKERWASSER

REINIGUNG UND ENERGIEGEWINNUNG

HERRMANN BRANDT BSU HAMBURG NN ANWOHNER

20.07.2012 SCHREBERGARTEN URBAN FARMING

REGIONALE RESCOURCEN

BENJAMIN BECKER UNIVERSITÄT DER NACHBARSCHAFTEN HEIKE BRÜCKNER BAUHAUS DESSAU

14.09.2012 ZUKUNFT EINER NACHHALTIGEN URBANEN ENERGIE

ENERGIEAUTARKES WILHELMSBURG

SIMONA WEISLEDER IBA HAMBURG MICHAEL BECKEREIT HAMBURG ENERGIE

WINTERPAUSE

20.04.2012

19.02.2013

GIFT IM BERG WAS MACHT DAS DIOXIN?

ERÖFFNUNG AUSTELLUNG & ENERGIEBERG

SANIERUNG - ABDICHTUNG VOLKER SOKOLLEK BSU HAMBURG OTTFRIED STRUBELT TOXIKOLOGE

19.05.2012 ENDLAGERUNG

URBAN MINING MÜLL ALS ZUKUNFTSRESSOURCE MICHAEL BRAUNGART CRADLE2CRADLE RAINER WEICHBRODT THINKTANK CONSULT

BEGEHUNGEN UND PROBEBOHRUNGEN WINFRIED HÄFNER HÄFNER/JIMENEZ MATTHIAS BÖTTGER RAUMTAKTIK

OLAF SCHOLZ ERSTER BÜRGERMEISTER VON HAMBURG ULI HELLWEG IBA HAMBURG

194 M2

WASSERAUFBEREITUNGSANLAGE

SANIERUNG / OBJEKTE GLASWAND MIT AUSSTELLUNGSTEX-

PROJEKTION

MODELL (TEMP.)

MODELL

ZUKUNFT

TURBINE

1 2 3 4 5 6

99 M2

SEMINARRAUM

63 M2

ARENA 35 SITZE

710

ALTERNATIVER AUSGANG

24 SITZE

ENERGIEFORUM

TERMINAL INFORMATION / AUDIOGU-

GESCHICHTE + SCHICHTEN 150

FALTWAND 12 M2

EINGANG

GRUNDRISS

150

680

AUSBLICK AUF DEN BERG TURBINE TERMINAL

130

ECHTZEIT

INFORMATION / AUDIOGU-

380

PROJEKTION

250

GIFTFASS

GESCHICHTE + SCHICHTEN

MODELL

SCHNITT AA`

ENERGIEFORUM

INFORMATION / AUDIOGU-

TERMINAL

GESCHICHTE + SCHICHTEN 12 M2

EINGANG

GRUNDRISS

150

680

TERMINAL

INFORMATION / AUDIOGU-

GESCH

SCHNITT AA`

FALTWAND

150

AUSBLICK AUF DEN BERG TURBINE

HICHTE + SCHICHTEN

130

ECHTZEIT

380

PROJEKTION GIFTFASS 250

24 SITZE

MODELL

ENERGIETOUR

Rund 40 Meter müssen Sie nun den Berg hinaufsteigen. Der Energieberg hat eine bewegte Geschichte: Nach dem Krieg musste der Trümmerschutt der zerstörten Häuser beseitigt werden. So türmte man auf der flachen Wiese nordöstlich Wilhelmsburgs Trümmer und Haushaltsmüll. Später kamen giftige Industrieabfälle wie Lacke und Farben hinzu. Wenn Sie mehr über Natur erfahren wollen, drücken Sie N1. Wenn Sie etwas über Energie erfahren wollen drücken Sie E1.

Gehen Sie nun Richtung Windrad â&#x20AC;&#x201C; in ungefĂ¤hr 200 Metern stossen Sie auf Begrenzungspfeiler wie Sie ihn vom Strassenrand ausserhalb von Ortschaften kennen. Auf ihrer Karte ist dieser Punkt mit E1 markiert.

E4 F1

A2 B9

Sie laufen über eine ganz normale Wiese – eine Wiese, wie sie in jedem Stadtpark vorkommt. Und doch hat mit dem Grasbewuchs am Energieberg eine besondere Bewandtnis: Zwei Mal im Jahr wird diese Wiese gemäht. Das dabei anfallende Gras wird dabei nicht einfach kompostiert, sondern in einer Biogasanlage zu einem wertvollen Energieträger – dem Biogas vergoren. Das Gas kann zur Erzeugung von elektrischer Energie oder zum Betrieb von Fahrzeugen eingesetzt werden. Biogas eignet sich hervorragend für einen Energiemix der erneuerbaren Energien, denn Biogas lässt sich sehr gut speichern und ist damit im Gegensatz zu anderen erneuerbaren Energieträgern wie Wind oder Sonne immer verfügbar und ergänzt so ideal die Solar-und Windenergie. Übrigens: Die Straßenpfähle auf dem Berg dienen beim Mähen als Markierung und weisen auf versteckte Rohre und ähnliches hin. Auf der Rückseite des vor Ihnen stehenden Pfahls befindet sich ein Code. Wenn Sie diesen Code im Besucherzentrum am Terminal oder auf der Website des Energieberges eingeben, sammeln Sie Energiepunkte. Diese Energiepunkt bringen den Berg nachts zu leuchten.

Viel Energie! Du hast es Dir verdient und darfst heute Nachte den Energieberg zum Leuchten bringen.

LOADING DOCK 5 http://www.loadingdock5.com/ 2010,Brooklyn

Collaborator, September-November

Studio Information: We like modern architecture and design for new construction but also authentic and gentle upgrading of existing historic structures. Additionally we are very interested in efficient technologies as the Passive House standard. Loadingdock5 Architecture PLLC is an architectural studio located in Williamsburg Brooklyn NY and is striving for quality design, innovation, and sustainable design solutions.

Loadingdock5

The drawings and images are property of Loadingdock 5.

At Loadingdock5 Place Lalla Yeddouna Competition In cooperation with: Landscape ID

Project description: The competition site of approx. 7,400 sqm is located in the Medina of Fez, which is listed as a UNESCO world heritage site since 1981. “The new main gateway to ‘Place Lalla Yeddouna’ is a strong connection between the east and west sides of the river, and the beacon that will become the symbolic identity for the city, is the combined gesture of a new pedestrian bridge and souk. Architecturally the project act as one bold, yet simple modern insertion into the preserved historic sand-colored structures of the Medina. In form and function the bridge and souk mirror each other as a reflection in the river. The bridge cups you, leaving views open to the city, sky and river while drawing you toward the inverse canopied volume of the souk. The copper or brass metal canopy, inspired by traditional souks and fabricated by local artisans, showcases to the world Fez’s rich cultural history of handicraft. Upon entering this powerful architectural volume, it suddenly becomes a soaring field of filtered light. “

THE GATEWAY

LEATHER CRAFT CONNECTIVITY SOUK

METAL CRAFT

LANDSCAPE AREA

PROJECT CONTEXT A n e w a r t isan gateway is c r e ate d at th e in te r s e c tion of le ath e r c r af t ar e a an d me tal cra f t are a . S o uk is p lac e d at th is e n tr an c e to celebrate b oth c r af ts. Th e “ Tradition al Craf t s” ro ut e th at e n d at th e s ite is ex te n e d to a create b e tte r con n e c tion ot th e l e at h e r c ra f t. Th e n e w main gateway b r in g s you dir e c tly fr om th e dr op - off p laza, a c ro ss t h e r ive r, an d we lc ome s you th r oug h th e s ouk , c r e atin g a s tr on g con n e c tion fro m t h e e ast s ide of th e r i ve r. Th is is an imp or tan t loc ation in our ur b an s c h e me b e cause it h a s n ow b e c ome th e c r os s r oads for a fluid con n e c tion b e tw e e n th e t wo exist in g in du s tr ie s of le ath e r an d me tal.

RIVER AREA

RIVER CONNECTIONS

BUILDING

PROGRAM AREA

SITE PLAN

DESIGN ELEMENTS

Va r io us c o n n e c tions and openings have been provided to provide b<etter access to t h e r i ve r a n d t h e op e n s p ac e s alon g th e r ive r. Th e lar g e r g oal is to reconnec t th e c it y to t h e r i ve r whic h w ill h e lp save an d c le an th e r ive r. T h is w ill in tur n h e lp p r e s e r ve t h e c it y fo r t h e futur e g e n e r ation s.

OPENINING UP THE RIVER STEP

BACK

Th e r i ve r is t h e o l de st h e rit a ge o f t h e c i t y, a nd a cul t ura l l an dscap e t h at is n e c essa r y fo r t h e cit y ’s l o n g-t e rm sur v iv al. Th i s i s why we have re st o re d t h e “s te p p e d ba c k ” m ul t i-l e v e l r i ve rside m a ssin g t h at or i gi n al l y exist e d by re m o v in g n e wl y a d d ed up p e r l e v e l s o f b uil din gs al o n g th e r i ve r ’s e dge. Th is o p e n s up t h e corr i d or, al l o win g fo r v ie ws t o an d fro m t h e r i ver.

R I V E R

CREATING NEW GATEWAY

S O U K

SITE PLAN

SCALE 1:200

3 4 5

11 10

10 6

9 8

1 PARK. 2 RIVER PROMENADE 3. DROP OFF 4. NEW BRIDGE 5. SOUK 5. CRAFT COURT 6. ARTISAN COURT 7. INTERNET KIOSK 8. MEDINA INFORMATION CENTER 9. HOTEL 10. RIVERSIDE PARK 11. STEPS 12.CONSTRUCTED WETLAND

AREA PROGRAMMING AND CIRCULATION 32

30 34

35 39

37 35 36 38

A` LEVEL 3

LEVEL 1

BUILDING A01 - FOUNDOUK SCALE 1:200

LEVEL 2

30. WORKSHOP 7,18 sq m 31. WORKSHOP 11,8 sq m 32. WORKSHOP 12 sq m 33. WORKSHOP 13,16 sq m 34. WORKSHOP 17,08 35. WC 5 sqm 36. WORKSHOP 9,62 sq m 37. WORKSHOP 7,96 sqm 38. STORAGE /WASTE 10.02 sq m 39. ACESS/RAMP TO THE MUSEUM 40. WORKSHOP 12,65 sq m 41. WORKSHOP 11,61 sq m 42. WORKSHOP 11,69 sq m 43. WORKSHOP 12,21 sq m 44. WORKSHOP 10,14 sq m 45. WORKSHOP 12,21 sq m 46. WORKSHOP 14,12 sq m 47. WORKSHOP 12,85 sq m

47 42 43 35

46 35 44

LEVEL 1

LEVEL 3

2,6 2,8 +

3,4

SECTION AA´

BUILDINGS ASL 277,65m

ELEVATION SQUARE

ASL 276,63m

B 12

LEVEL 1

1 11

NEW BRIDGE

C 10

5 5 5

5 9

B` PLACE LALLA YEDDOUNA

1 COMMON WORKSHOP 27,18 sq m 2. WORKSHO 6 sq m 3. RETAIL 18 sq m 4. SOUK COVERED STREET 5. RETAIL 21sq m 6. RETAIL 19 sq m 7. ELEVATOR 8. RETAIL 7,4 sq m 9. RETAIL 26,8 sq m 10. COURT 11. WC 2,63 sq m 12 STORAGE 22,3 sq m

LEVEL 2

14 16

17 19 20

19 14

17 19 21

29 23

24 25

SOUK AND FOUNDUK

28 25 26

SCALE 1:200

13COMMONWORKSHOPOPENTOABOVE14.WC2,64sqm15.RESTAURANT54,91sqm16OPENTOABOVERESTAURANTOUTDOORAREA17.OPENTOBELLOW18.CAFETERIA49,12sqm19.PUBLICGALLERY20.PUBLIC21.WORKSHOP 9,56 sq m 22. WORKSHOP 9,38 sqm 23. WORKSHOP 11,69 24. WORKSHOP 12,21 sq m 25. WC 5 sq m 26. WORKSHOP 14,04 sq m 27. WORKSHOP 12,21 sq m 28. WORKSHOP 14,12 sq m 29 WORKSHOP 12, 88 sq m

SOUK BY THE RIVER 3

ELEVATION BB´

ELEVATION CC´

7,0

STAKEHOLDERS Th e overarching go al s o f t his pr oposa l were d e ve lo ped by t ak i ng a h oli sti c l ook at t he pro jec t s many sta k eh old e r s. Gre at emphas i s has been pa i d to i m p rovi ng the l iv i ng co ndit i on s a n d me e t i ng the as pi rat i o ns o f th e com mu nit y, c raf ts men, v is i to rs, a n d a ll a sp e c ts of li fe i n Fez and beyon d . Th i s we b e lie ve is ve r y impo r t an t to pre s e r ve t he c i ty and the craf ts for th e f ut u re g e nerat i o ns. The projec t wi ll a l so he lp t o bui l d Fez rel atio n wi th i ts ol d e st he ri tag e - The R i ver Fe z . B y pro v i d ing op e n s paces wit hin th e pr ojec t s i t e that can be enjo y ed by ever yon e, we b e li e ve wil l hel p in co n n ec ti n g t h e c ra f ts to the f ut ure g en er a ti on s. I t he lp p res er v ing Fez â&#x20AC;&#x2122;s rel a ti on sh i p w it h the c r af ts.

STAKEHOLDERS

GOALS

CO MMU NI T Y

AR TI S AN

VI S I TO RS

AGENCI ES

EN VIRON MEN T

ECON OMY

HISTORY

FUTURE

FEZ

IN C R E A S E Q UAL I T Y O F L I F E INCREAS E TO U RI S N CO N NEC T CO MMU NI T Y R E S P O N D TO F U TU RE NEED S R E S P O N D TO H I S TO RY/CU LTU RE R E - E NGAGE THE RI VER C R E AT E P U B L I C O PEN S CAPES D E V E LO P A RTI S I AN I ND U S TRY R E S P O N D TO CL I M ATE CHANGE

CRAFT BY THE RIVER BIRDS EYE VIEWS

RESURRECTING THE OLDEST HERITAGE - THE RIVER R esurrec t i ng th e r i ver i s a n i m por ta n t step i n th e overal l hi s t o ri c pre ser vation of Fez . I t ex i sted even befo re t he cit y di d, an d wa s th e rea son why th e c i ty wa s b uil t there i n the f i r st pla c e. As i n m a ny rive r front c i ti es, a s t he r i ver becam e m or e pollu ted , th e people a n d buil di ng s o f Fez beg a n to tu r n i ts ba c k on th e r i ve r, wh ic h o nl y enco urag ed m or e pollu ti on . We h ope th a t th r ough o ur pro po s al people wi ll rediscover wh a t a n a sset t h e r i ver i s, whi ch wi ll th en i n spi r e a regional a ppr oa c h to cl eani ng th e water. Th e r ive r â&#x20AC;&#x2122;s ex tr em ely pollut e d co ndit i o n exis ts u pstr ea m of Fez , a n d on ly gets mo re po l l uted w hen th e wa ter en ter s th e c i ty. Th i s su gg e st s that the r i ver i s n ot ju st a few cook i e c u tter BMPs away f ro m res t o ratio n , rather a lon g term t wo pr on ged ap pro ach wil l be n ec essa r y for th e people of Fez to b e abl e to trul y reen ga ge wi th th e r i ve r. Issu es u pstr e am s uch as t anner y pollu ti on n eed to be a d d r essed first, ideal l y by dea li n g wi th th e sou r c es of th e pollu tio n , o r al ternatel y t h r ou gh a ser i es of regional water treatment zo nes. S e con d a r i ly, th e c i ty wi ll th en n eed to addres s t he s t or m water a n d m u n i c i pa l sewa ge discharg e i s s ues t h a t seem to ex i st wi th i n th e c i ty i tse l f. We have env i si on ed th e r i ver a s a c a ta lyst for co m muni ty interac ti on , wi th pa r k s, c a fes, a h otel an d publ ic ar t t hat wi ll draw th e com m u n i ty a n d vi sit o rs al i k e, f ro m both si d es of th e r i ve r. Th e spa c es created al o ng t he r i ver a r e i n ten d ed to pr ovi d e for m ost l y pas s iv e recrea ti on oppor tu n i ti es for you n g a n d o l d, as wel l as a re spi te f r om th e c i ty wh er e people can co nnec t w i th t h e r i ver a n d th e envi r on m en t beyo n d.

RIVER SECTIONS

789

809 RIVER SECTIONS

1164

1276

2010

PROJECT RIVER SECTIONS

SOUK DETAILS

Th e co m b in e d g e s tur e of a n e w p e de s tr ian b r idg e an d ove r h e ad s ouk s tr ucture b e c o m e s th e main ar tisan gateway, th e s tr on g c on n e ction b e tw e e n th e e as t an d we st sides of th e r iver, an d th e s y mb olic ide n tity for th e c it y. Architec tur ally th e y ac t a s o n e b old y e t s imp le mode r n in ter ve n tion amon g th e h is tor ic s tr uc tur e s o f t h e me din a, mir r or in g e ac h oth e r as a r e fle c tion in the rive r. Th e b r idg e c up s you, leaving views open to the cit y, s k y and river while drawing you toward the inve rse can op ie d volume of th e s ouk . Th e c op p e r or b r as s me tal c an opy, in s p ir e d b y t ra dit ion al s ouks an d fab ricated by local ar tis an s, showcases to the world Fe z â&#x20AC;&#x2122;s ric h c ultur al h is tor y of h an dic r af t. Upon entering this power ful ar c h ite ctur al vo l um e it s udde n ly b e c ome s a s oar in g fie ld of filte r e d lig h t. You are captivated by the per fo rated struc ture overhead and energized by the activity at ground l e v e l , m akin g it c le ar to y ou th at y ou h ave j us t c r os s e d a th r e s h old to s ome w h e re t rul y sp e c ial. Th is e xp e r ie n c e th r oug h th e s ouk is th e main g ate w ay to r e s t of th e artis an c omp l e x. Th e s ouk s tr uc tur e te r min ate s an d op e n s up to th e b e autiful e x is tin g c ourtyard o f tr e e s w ith in th e D ar B e l M aati. Th is is an imp or tan t loc ation in our ur b an sch e m e be c aus e it h as n ow b e c ome th e c r os s r oads for fluid c ir c ulation an d c on n e c t io n s b e tw e e n th e tw o e x is tin g in dus tr ie s of le ath e r an d me tal. Pe op le c omin g fro m th e tan n e r ie s e n te r th r oug h a g ate w ay to th e n orth , an d as y ou h e ad so ut h you e n te r dir e ctly into the improved central square, the new center of the a r t isan c omp le x .

THE ARTISAN COURT PRPOSED FACADES

BUILDING PROGRAMMING: ZONE 1 ZONE 2

ZO NE 1 The so uk cano py and a c om pa nyi n g bu i ld i n gs have bec ome t he new ico nic gateway a n d th e sym boli c i d en ti ty for th e me d ina. A s t o ng co nnec tio n to a n d f r om th e d r op of f pla z a h as b e e n es tabl is hed v ia t h e n ew ped estr i a n br i d ge lea d i n g to it, so t his buil di ng has been pr ogr a m m ed for a f lu rr y of a cti vit y to celebrate the ar r i v al. At ground level th i s sou k h a s sta ll s on b ot h s ides, each w i th d i r ect sa le i n f r on t wi th vi si bi li ty t o wor ks ho ps behi nd. On th e u pper levels a r e c a feter i a s, re stau rant s and o utdo o r s i tti n g a r ea s for vi si tor s to f u el u p fo r t he i r adv enture. This ex per i en c e th r ou gh th e sou k , a f for d e d by remo v al o f exi s t i ng bu i ld i n gs II-1 1 a n d II-1 2 , i s th e m a in gateway to rest of the ar ti sa n c om plex . ZO NE 2 The so uk s t ruc ture o pe n s u p to th e bea u ti f u l ex i sti n g cou r tyard o f t rees w i thi n th e D a r B el M a a t i . Th i s bu i ld i n g h as ma int ai ned it s current pr ogr a m of ground f loor reta i l sh ops a nd upper l ev el l i v ing qu a r ter s to continue th e com m er c ia l e ne rgy and ac tiv i ty f l owi n g i n f r om th e sou k . Bu i ld i n g I-07 ha s a l s o maintained i t ’s r esi d en ti a l u se.

RIVER PARK: OPEN SPACE, FLOOD CONTROL AND FILTERATION Th e e a st e rn e dge o f t h e r i ve r c h an n e l is st e p p e d b a c k in tie r s s o th at rather th an h avin g a 6 foot c h an n e l wall, you have 3 larg e r le ve ls o f o p e n sp a c e t e rra c e s. Th is wil l h e l p to accommodate an in e vitab le in c r e as e in water volume c p ap c ity dur in g s tor m s ur g e s as g lob al warming continues to ch an ge weather p at t e rn s, wh il e simultan e ous ly p r ovidin g fo r a c or r idor of muc h n e e de d n e w p ub lic op e n s p ace s fo r fut ure ge n e rat io n s t o e n j oy. Th e se a n gul ar sh a p e d o p e n sp ac e s a l o n g t h e r ive r ’s e dge, w h os e fo r m ar e in s p ir e d by th e tr adition al p atte r n s s e e n in th e c it y ’s ex is tin g o p e n sp a c e s, a l so se r ve a s water fil t ra t io n zo n e s. B e l o w th e s e op e n s p ac e s ar e s an d fille d volume s w h ic h c atc h r un off fr om th e c ity b e fo re it reaches the r ive r, a n d t e m p o raril y h o l ds it al l o win g t ime for percolation to and recharge of the ground water table.

LEVEL 1 LEVEL 2

LEVEL 3 RIVER

ZONE 3

ZONE 4

ZO NE 3 D a r Al I raqui is a beaut i f u lly d eta i led a n d c u ltu r a lly si gn i f i c a nt b u ilding wor thy o f a f u ll restor a ti on i n colla bor a ti on wi th a local archit ect ural his to r i a n . Progr a m m a ti c a lly i t h a s bec om e a k nowl edg e center for ed u c a ti on , tr a i n i n g a n d innovation on a ll thi ng s craft related. The intention is to strengthen the re lat io ns hip betw een com m u n i ty a n d c r a f t, a n d to en sure the long-term s ur v iv al of th e i n d u str y. I n D a r Al I ra qu i th e re a re fini s hi ng w o rk s ho ps wi th d i r ec t sa le, a s well a s spa c e fo r ar t i sa ns to teach and l ea r n n ew m eth od s a n d pr a c ti c es. Lo c a l yo ut h and adul ts com e h er e ou t of interest i n lea r n i ng a craf t, and natio nal an d i n ter n a ti on a l vi si ti n g a r ti sts com e from aro und t he gl o be to lea r n a n d sh a r e k nowled ge wi t h t he craf t s men o f Fez. Access to and f ro m Fo n d ou k L a h ssa i r vi a elevator i s i m port ant becaus e ar tis ans h er e a r e bu sy at wo r k i n over 2 6 wo r kshop s. The interior ground f loor wa lls have been removed, re sto ri ng t he co ur t yar d to ref lec t i ts or i gi n a l open la yout. Fold i ng do o rs to each wor k sh op c a n be open ed u p for i n terac t i o n and co l l abo ra ti on , or c losed wh en c r a f tsm en n ee d q u i e t and fo cus. Us e o f th e rem a i n i n g bu i ld i n gs i n Zon e 3 is a lso fo r pro duc tio n and f i n i sh i n g wor k sh ops a n d d i r ec t sal e a s sugg es ted in the br i ef a n d to k eep th e c r a f t u se centraliz e d.

water water

CONSTRUCTED WETLAND

LID DISTRIBUTION PIPES FILTER SAND PEAROCK UNDERDRAIN LINEAR

ZO NE 4 The central s quare i s n ow a lso a ccessed f r om th e r i ver d ue to t he remo v al o f buil d i n gs II-0 2 th r ou gh II-0 5 , wh er e yo u now f ind a passageway between n ew bu i ld i n gs, i n c lu d i n g a ne w fo nduk , wit h amen i ti es li k e sh ops, post of f i c e a n d cafes. Thes e bui l dings are bu i lt wi th materials a n d m a ssi n g to mat ch the charac ter o f th e ex i sti n g restor ed bu i ld i n g t ypol ogy. We have remo v ed new ly a d d ed u pper levels of th e bu i ld i n gs along the r iver ’s edg e to restor e th e “s tepped ba c k ” m u ltile ve l r i vers i de mas s ing th a t or i gi n a lly ex i sted , a n d to ope n u p the co rri do r fo r v iews to a n d f r om th e r i ve r. Th e r i ver is t he ol des t heri tag e o f th e c i t y, a n d a c u ltu r a l la n d sc a pe th a t we believe is necessar y for th e c i t y ’s lon g-ter m su r vi va l.

ZONE 6

GATEWAY HISTORIC FOUNTAIN PUBLIC ART SCULPTURE CRAFT COURT SPECIAL LIGHTING

ZONE 5 ZO NE 5 The n ew ho t el has s it ed i n th i s loc a ti on on th e ea st si d e o f t he r i ver fo r a few main rea son s. T h e com m u n i ty ea st of th e r i ve r w i l l enjo y the ec on om i c ben ef i ts of br i n gi n g tou r i st s t o t he o t her s ide. Patron s of th e h otel ben ef i t f r om a n a m a zi ng vi ew o f t he r ive r, br i d ge, a n d c i ty a c r oss th e r i ver wh il e ha vi ng s o me s eparatio n f r om th i s bu stli n g center wh er e th ey sp e nt t hei r da y. Patrons will also have easy access to the rive rsid e res taurants in Zo n e 6 . ZO NE 6 B u ildi ng s III-04 t hro ugh III-0 6 h ou se com m u n i ty a d m i n i strat i ve facil i ties. Bui l dings III-0 1 a n d III-0 2 have th e ea st si d e’s p u b li c res tro o m, and resta u r a n ts a n d a c a feta r i a for r i ver si de d i ni ng and nig ht l ife. R oof tops a r e u sed for c a fes to en joy you r meal and a bo tt l e of wi n e wh i le look i n g ou t over the ci t y, r i ve r f ront, and th e sof tly glowi n g m eta lli c sou k str uc t u re t hat w el co med yo u a t th e sta rt of you r d ay. A por ti on o f I I I - 0 1 has been remo v ed to m a k e room for th e pa r k ter r a c e s, and a cafetari a is l o cate d h er e so th a t you c a n ea t som eth i ng q u i ck l y befo re s teppi n g ou t to th e d r op - of f pla z a for yo ur b u s or taxi .

CONNECTIVITY PLAN

PUBLIC ART PLAN

Th e exist in g c irc ul a t io n t h ro ugh t h e ar t isan co m p l e x h as b e e n ex te n de d an d e n h a n c e d. Th e n e w m ain gateway b rin gs you direc t l y fro m t h e dro p - o ff p l aza, a c ro ss t h e r ive r, a n d we lc ome s yo u t h ro ugh t h e so uk , cre a t in g a st ro n g co n n e c t io n fr om th e e a st side o f t h e r iver. Th is is an im p o r t a n t l o cat io n in o u r ur b an sch e m e b e c ause it h a s n o w b e co m e t h e c ro ssro ads fo r a fluid co n n e c t io n b e t we e n t h e t wo exist in g in dust rie s o f l e ath e r an d m e t al . Pe o p l e co m in g fro m t h e t a n n e rie s e n t e r t h ro ugh a gate way to t h e n o r t h , an d as yo u h e ad so ut h yo u e n t e r dire c tly into t h e improved central sq uare. Fro m t h e sq ua re Fo n do uk L ah s sa ir o ffe rs a p hysic al an d p ro gra m m at ic co n n e c t io n to D ar Al I ra q ui wit h elevator a ccess b e t we e n t h e t wo. Th e central s quare is n o w a l so accessed fro m t h e so ut h al o n g t h e r i ve r t hr oug h a n e w passageway b e t we e n b uil din gs. Th e e ast side o f t h e r i ver is st il l e a sil y re ac h e d fro m t h e sq ua re by c ro ssin g t h e re s tor e d h ist o ric b ridge, wh ich re m a in s t h e p rim ar y gateway fo r p e op le o f t h e re side n t ial co m m un it y to t h e e ast a s we l l as p atr on s of t h e n e w h o t e l to t h e so ut h . On ce a c ro ss yo u e n j o y de s c e n din g t h e st a irs toward t h e r i ve r an d it s o p e n v ie ws wh e re yo u e n j oy t h e p a rk a n d e n d yo ur n igh t b a c k at t h e dro p - o ff p l a za for your b us o r t a xi.

Pub lic ar t by loc al c r af ts me n an d in te r n ation al ar tis ts th r oug h out th e p r oj e c t w ill e n c our ag e e ve n mor e interac tion b e t w e e n th e commun ity an d th e ar t wo r ld, in s till p r ide amon g th e loc al p op ulation , an d s h ow c as e to th e wor ld Fe z ’s r ic h c ultur al h is tor y of h an dic r af t. We s e e th is h ap p e n in g as rotatin g s c ulp ture ex h ib ition s in th e central s quar e as th e n e w center of th e ar tis an comp le x , as te mp or ar y in s tallation s alon g th e r i ve r f ront p ar k , an d in th e fab r ic ation of th e ic on ic me tal s ouk s tr uc ture.

URBAN A&O

http://www.urbanao.com/ 2010, Manhattan Collaborator, June - August

Studio Information: Urban A&O is a design firm that operate within the sophisticated computer design environment of parametric modeling, employing the powerful tools of CATIA-based software. Urban A&Oâ&#x20AC;&#x2122;s innovative work has tested limits of material and form through the development of new spatial geometries with strong conceptual underpinnings. Working with the agency of parametric modeling tools, the firmâ&#x20AC;&#x2122;s capability to bring radical new forms into practice provided the all-important link between conceptualization and realization.

The drawings are property of Urban A&0 and the images were kindly provided by CFA.

At URBAN A&O inovate:integrate In cooperation with: CFA- Center for Arcitecture

The Center for Architecture announced the opening to their largest event last year, the exhibit Innovate: Integrate, designed by Urban A&O. Project description: This exhibit detailed cutting edge construction practices and how they became implemented into main-stream building. “Innovate : Integrate describes two interdependent elements of a new industry standard, one that balances architectural expectations and real-world implementation to achieve an environmentally and economically sustainable built environment for the 21st century” Innovate : Integrate presents the finalists of the AIA New York Chapter’s “Open Call for Innovative Curtain-Wall Design” alongside a selection of projects that demonstrate the latest construction methodologies. The first section of the exhibition, Innovate, highlights three priorities in building technology: material performance, energy harvesting, and daylight optimization. The second part of the exhibition, Integrate, looks behind-the-scenes of project delivery at three related topics: construction technologies, construction management, and construction logistics.

Section Detail

Axonometric Detail

ORGÂNICA ARQ.

2009-2010 Lisbon, Collaborator, November - January

Studio Information: The name “organic” comes from “organize” and “organism.” The assumption is, a living entity in which different functions are performed by different agents, unable to replace each other and contributing to the vitality of the whole. Organic Architecture is an entity formed by architects, according to the principle above, with a mission to create architecture from research programs, of the client, the character of the place, and materials, through a formal organization and aesthetics, responding to today´s questions, through its utility and appearance. Their practice goes through various programs and schedules; comes from public tenders, orders and private partnerships with other studios. Organic architecture understands the architectural work in an order and structure ruled by matter, able to offer several meanings and sensitive qualities.

The drawings are property of Org창nica Arquitectura

AT ORGĂ&#x201A;NICA ARQArchitecture Triennale Competition for EDP The Architecture Triennial of Lisbon launched a competition for the Museum of Electricity whose objective was to choose the design team that would draw the support and framework of the exhibition of the Triennial exhibition . Also the schools of architecture and landscape architecture were challenged by the Lisbon Architecture Triennale to elaborate, within the scope of their educational programme, responses to a question: how is it possible for architecture to contribute to making concrete improvements to the living conditions of the people of this neighbourhood? Representing a complex reality in social and cultural terms, the area arose from peculiar historical circumstances and has followed an unusual path. The choice of Cova da Moura for the development of this project is due to its being recognised as a neighbourhood with a sociable dynamic that provides those involved in this project with a significant degree of interlocution. It was precisely in this neighbourhood that the project started, through a meeting with the Neighbourhood Commission (a federation of several associations located there), with the aim of establishing a partnership for the development of this study. Project description: The pipe rolls of paper for printing, are waste and garbage in architecture studios. With an adequate for aesthetic, the narrative and purpose of this design concerns a construction sustainability concept. This material has good physical strength, is light, cheap and may receive a final finish

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C O N C U R SP OÚ B L I C O P A R AA E L A B O R A Ç ÃDOO P R O J E C T E OX P O S I T I VDOA T R I E N A D L EA R Q U I T E C T U R DA EL I S B O A N O M U S E UD A E L E C T R I C I D A D E

Estrutura Existente

O MUSEU DA ELECTRICIDADE SITUA-SE NA MARGEM DO RIO TEJO, JUNTO À ESTAÇÃO FLUVIAL DE BELÉM, AO LONGO DA AVENIDA BRASÍLIA. É COMPOSTO POR UM CONJUNTO DE QUATRO EDIFÍCIOS, QUE FORMARAM A UNIDADE FABRIL DE PRODUÇÃO DE ELECTRICIDADE DE LISBOA, A CENTRAL TEJO: O MAIS ALTO ALBERGA AS CALDEIRAS DE ALTA PRESSÃO, O MAIS BAIXO AS CALDEIRAS DE BAIXA PRESSÃO, OS OUTROS SÃO A SALA DAS MÁQUINAS E OS ESCRITÓRIOS. E PERTENCE AO PERÍODO DA ARQUITECTURA DO FERRO DO PRINCÍPIO DO SÉCULO XIX. O CONCURSO PARA O PROJECTO EXPOSITIVO DA TRIENAL DE ARQUITECTURA É NA SALA DAS CALDEIRAS DE BAIXA PRESSÃO E A ENTRADA SITUA-SE NA FACHADA POENTE, NO PISO 1. O PONTO DE PARTIDA É A ABORDAGEM ESTÉTICA ACERCA DA RECICLAGEM E DA REUTILIZAÇÃO DE UM MATERIAL DO DIA-A-DIA NOUTRA FUNÇÃO. AO REUTILIZAR-SE OBJECTOS DO DIA-A-DIA DESENCADEIA-SE A POSSIBILIDADE DE INVENTAR NOVOS USOS E DESENHOS. ASSIM, ENCONTRA-SE UM MATERIAL, O Intervenção

TUBO DOS ROLOS DE PAPEL PARA IMPRESSÃO, QUE É

DESPERDÍCIO E LIXO NOS ATELIERS DE ARQUITECTURA, COM UMA ESTÉTICA ADEQUADA À ARQUITECTURA DA EXPOSIÇÃO, AO SEU PROPÓSITO NARRATIVO E À PRESENTE PREOCUPAÇÃO COM A SUSTENTABILIDADE DA CONSTRUÇÃO. ESTE “NOVO” MATERIAL TEM, AINDA, BOA RESISTÊNCIA FÍSICA, É LEVE, PODE RECEBER UM ACABAMENTO FINAL, PERMITE UMA MONTAGEM RÁPIDA E É BARATO, PELO QUE OS DISPOSITIVOS ESPACIAIS EXPOSITIVOS DERIVAM DA MULTIPLICAÇÃO DE CONJUNTOS DE TUBOS DE PAPEL. OUTRO CONCEITO É O FASCÍNIO PELA ENERGIA CRIATIVA POSTA NAS CONSTRUÇÕES E HABITAÇÕES LOCAIS NOS SÍTIOS TEMÁTICOS DA EXPOSIÇÃO, A COVA DA MOURA E LUANDA, E, QUE CONSTITUEM FORMAS ARQUITECTÓNICAS DE SUBSISTÊNCIA A PARTIR DE MATERIAIS IMPROVISADOS, INFORMAIS, CONSTRUÍDAS POR CONTA PRÓPRIA. ESTE FIO CONDUTOR TEM COMO REFERÊNCIA O TRABALHO DE DOIS ARTISTAS , KURT SWITTWERS, A MERZBAU, PELO CUNHO ARTÍSTICO QUE ATRIBUIU À CONSTRUÇÃO COM MATERIAIS VULGARES SEM VALOR NA TRANSFORMAÇÃO DE SEIS SALAS DE UMA CASA FAMILIAR EM HANNOVER, E MICHAELANGELO PISTOLETTO. AO INTRODUZIR-SE DOIS ESPELHOS EM TODA A LARGURA DOS DOIS TOPOS DA SALA, E OS TUBOS VERTICAIS ESPELHADOS QUE DEFINEM O HALL, MERGULHA-SE O VISITANTE NA PROFUNDIDADE E AMPLITUDE DA EXPOSIÇÃO. A MULTIPLICIDADE E A REPETIÇÃO “AD INFINITUM” DOS MÓDULOS ESPACIAIS ATRAVÉS DA REFLEXÃO DA SUA IMAGEM ENVOLVE-O NA INTERACÇÃO COM O TEMPO, NA FRONTEIRA ENTRE ESPAÇO REAL E ILUSÓRIO. POR FIM ESCOLHE-SE UMA COR FORTE, O VERMELHO, QUE PROVÉM DO IMAGINÁRIO DO REVESTIMENTO EXTERIOR DO MUSEU E DA “AREIA VERMELHA” DAS CONSTRUÇÕES POPULARES EM ANGOLA.

Zonas Expositivas

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C O N C U R SP OÚ B L I C O P A R AA E L A B O R A Ç ÃDOO P R O J E C T E OX P O S I T I VDOA T R I E N A D L EA R Q U I T E C T U R DA EL I S B O A N O M U S E UD A E L E C T R I C I D A D E

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Planta Geral 1|200

Legenda

Axonometria

Áreas

Banco em Espumade Poliuretano 60x60cm Exposição Internacional, 30 maquetas60x60cm

Percurso Exposição Internacional

Parede de Remate em Poliestireno espelhado Limite das exposições,tubos de cartão revestidos a Poliestireno espelhado

Loja, 10 m2

Suporte expositivo em tubos de cartão pintados de vermelho

Zona de Entrada100 m2

Tubos de cartão Kraft / castanho com 53mm

Exposição Internacional 365 m2

Encaixe L de Cartão

Exposição Universidades463m2

Encaixe em cruz de Cartão

Loja 10 m2

Tampa de Plástisco

Percurso Exposição Universidades

Exposição Universidades, 30 maquetas80x120cm

2 1

Corte Longitudinal 1|200

Corte Tranverssal 1|200

Custos

ARQUITECTURA

PINTURAS E REVESTIMENTOS

ESTRUTURA EXPOSITIVA Tubos de cartão Kraft / castanho com 53mm de Ø

5.932,90 ml

11.687,91 €

Encaixes e perfis em cartão Kraft

1.200,00 un

600,00 €

Tampas de plástico na cor branco

1.900,00 un

190,00 €

Pintura sobre tubos de cartão Kraft na cor vermelho RAL 3020

889,94 m2

Poliestireno espelhado de 1mm, com autocolante

190,80 m2

ILUMINAÇÃO PAREDES Tubos de cartão Kraft / castanho com 53mm de Ø

1.793,23 € 4909,28 € 3.000,00€

DESIGN 488,00 ml

961,36 €

Base de suporte em barras e tubos de ferro

2,00 un

17.010,00 €

Gesso cartonado

117 m2

2935,30 €

Placas de Pvc com Vinil recortado

300,00€ TOTAL

43.387,00 €

Desmontagem e montagens de paineis existentes

PIN-UP

2011 Issue 10, Spring Summer Writer

TOOLS FOR ARCHITECTURAL SEDUCTION RELIGION By Diogo Passarinho Pereira

In the increasingly agnostic 1990s the popular Portuguese rock band Xutos e Pontapés sang “...não sou o único a olhar o céu” (“...I’m not the only one watching the sky”). Barely twenty years later remote locations all over Portugal are being resurrected with tiny chapels, small architectural wonders designed to draw in the most unfaithful of believers. Rural locations that people once used to escape from have now become the new purgatory for tourists, where local priests lure in young and old into small architectural haunts of newfound faith. In Netos, a small town two hours north of Lisbon, a small chapel designed by Pedro Maurício Borges, is stuck between two roads. Whilst choosing a path to follow, the huge altar window invites visitors to enter as a showcase not unlike the windows in Amsterdam’s red-light district. The curtain is closed when the show is over but in the back stands a saint, working overtime as if to save all sinful souls.

Two other contemporary examples are the chapel of Eternal Light on the island of Azores; or Santa Ana’s chapel in Santa Maria da Feira, near Porto. The former, designed by Bernardo Rodrigues and still under construction, rises as an inverted concrete and metal pyramid and is anchored in reflecting pool of water. This pagan form reminds the holy trinity shaping a space that grows in the heights and allows people’s beliefs to travel from the room trough the skylights on the ceiling. The latter, designed in 2009 by e|348 Arquitectura, reproduces a kind of Ronchamp-effect in its small interior with few simple construction details. Modular opennings are incrementally placed in the main altar from floor to ceiling making a vibrant facade.Yet it’s in the exterior design that lies its biggest revelation: a large forecourt that invites people to sit and congregate, creating the possibility for mass reunions, extending the real chapel space onto the street. Although the capacity of these new houses of religious as well as architectural worship is comparatively small, the faith of their congregation is steadily growing. It is still too soon to tell whether these new man-made apparitions mark a general trend or are merely punctual phenomena — now there is no more space for peccancy. In these small architectural sanctuaries, you will find the highest scale of devotion.

J.A

2010 Lisbon Collaboration in the article “12 HOUSES in COVA DA MOURA” at Jornal dos Arquitectos Drawings and Photos Excerpt from the Article: This is not a survey; it’s an homage. Traditional Lisbon housing for today, chosen randomly from amongst the many types that move us in a universe earmarked for “standardisation”. Homes, most of them belonging to immigrants, between pragmatism and joy; somewhere between the model “modern” forms of rationalised concrete (slab coverings, shade structures, pillars, beams extended from inside, rectangular door and window spans) and almost “natural” building and structural intuition (corbels, capitals, support posts, collar beams, cantilevered elements). Painted in ridiculous readily-available colour combinations or covered with more painstaking textures, using waste marble or industrial tiles. Recessed areas for shade, masks over recessed elevations, unexpected terraces, or as yet incomplete. Door and window spans ranging from small windows salvaged from waste materials next to larger ones, more desired. Staircases everywhere guaranteeing individualised entrances: New York fire escape-like – jutting, appended, external; in concrete, the product of directions and geometry; hidden, betrayed only by the smoothness of the crooked planes of the solid walls that protect them; or revolving, spiralling in front of us away from the sun that beats on the surface of the isolated colourful wall behind. Moments of challenge to the gravity of architects, to their coded gestures between the adventures the last Pritzker Prize allows them and the flatness of a poetry they claim is melancholic. Poor poetry, the refuge of those who consider themselves to be serious, adult or mature; architects with identical renderings behind their ear, who can be nothing but condescending to the clueless people they so fear.

ER IMIGRANTE

12 CASAS NA COVA DA MOURA 12 HOUSES IN COVA DA MOURA

BEING AN IMMIGRANT

#08 CASA MARIA

C ON C EIÇÃO M OTA

#06 CASA ERNESTINA

#07 CASA JOÃO PEDRO

#04 CASA ISABEL

#09 CASA JOHNNY

#03 CASA FRAN C ISC O C IMENTO

#10 CASA ARLINDO VIEIRA GONÇALVES

#01 CASA MARIA ROBALO

#11 CASA VENTURA CABRAL

#02 CASA ADELINA MAS

#12 CASA JOSÉ GABRIEL

Não é um levantamento, mas uma homenagem. São casas populares lisboetas de hoje, escolhidas ao acaso entre as muitas que nos emocionam num conjunto para onde se prepara a “normalização”. Casas, na sua maioria de imigrantes, entre o pragmatismo e a alegria; entre as formas modelares “modernas”, propostas pela racionalização do betão (topos de laje, palas, pilares, vigas arrastadas de dentro, vãos rectangulares) e uma intuição construtiva e estrutural quase “natural” (cachorros, capitéis, escoras, tirantes, balanços sobre a rua). Pintadas com combinações disparatadas e expeditas ou completadas com mais demoradas texturas, entre desperdícios de mármore ou azulejos industriais. Recessos para a sombra, máscaras sobre alçados recuados, terraços imprevisíveis ou só incompletos, ainda. Vãos de tamanhos diferenciados, entre aqueles das janelas, pequenas, salvas do lixo, e as maiores, mais desejadas, ao lado. Escadas por todo o lado garantindo a individualização da entrada: em ferro, como escadas de incêndio nova-iorquinas, salientes, apostas, exteriores; em betão, prodígios de direcções e geometrias; escondidas, só denunciadas pela lisura dos planos tortos das guardas sólidas que as protegem; redondas, volteando à nossa frente para castigo do sol que encontra, recortado, a superfície do muro isolado colorida atrás. Casas ponte, esquina, castelo, que desenham becos, cintadas pelas lajes que as embrulham, que não se tocam, que não se defendem, que se rodeiam de grades, que partilham arranques, que se avarandam ou alpendram, que se iluminam com postes públicos, moldadas com pedra partida, com os cutelos de casas que não sabemos que inventividade concebeu. Casas que passeiam juntas a fazerem ruas estreitas, um largo, ali, frente ao café, um recanto estreito atrás com um limoeiro sobre a rua, um beco improvável partindo de um pátio lavado de mosaico castanho escacilhado. a chateza de uma poesia dita melancólica. Poesia pobre refúgio de quem se julga sério, adulto ou maduro; arquitectos de renderings iguais atrás da orelha, apenas condescendentes com o povo trapalhão que os assusta.| MGD

C ARINHA DA VEIGA

#05 CASA VER MELHA E VERDE

ing for today, chosen randomly from amongst the many types that move us in a universe earmarked for “standardisation”. Homes, most of them belonging to immigrants, between pragmatism and joy; somewhere between the model “modern” forms of rationalised concrete (slab coverings, shade structures, pillars, beams extended from inside, rectangular door and window spans) and almost “natural” building and structural intuition (corbels, capitals, support posts, collar beams, cantilevered elements). Painted in ridiculous readily-available colour combinations or covered with more painstaking textures, using waste marble or industrial tiles. Recessed areas for shade, masks over recessed elevations, unexpected terraces, or as yet incomplete. Door and window spans ranging from small windows salvaged from waste materials next to larger ones, more desired. Staircases everywhere guaranteeing individualised entrances: crete, the product of directions and geometry; hidden, betrayed only by the smoothness of the crooked planes of the solid walls that protect them; or revolving, spiralling in front of us away from the sun that beats on the surface of the isolated colourful wall behind. Houses that form bridges, corner houses, castellated houses, houses that create alleyways, houses surrounded by concrete slabs that don’t touch them, don’t protect them; houses that are surrounded by rails, that share starting points before forming verandas or porches; houses that are lit up by public posts, framed father and daughters; houses that tell intense stories from their conception; houses where we are oblivious to the inventiveness that conceived them. Houses that walk together creating narrow streets, a square, there, in front of the café, a narrow retreat with a lemon tree overlooking the street, an improbable alley leading from a washed patio of brown hammered stone. Moments of challenge to the gravity of architects, to their coded gestures between the adventures the last Pritzker Prize almelancholic. Poor poetry, the refuge of those who consider themselves to be serious, adult or mature; architects with identical renderings behind their ear, who can be nothing but condescending to the clueless people they so fear.| MGD

PROJ EC TO S PROJ EC TS 59

#01 CASA MARIA

ROBALO

#02 CASA A DELINA MAS C ARINHA DA VEIGA

#03 CASA FRAN C ISC O CIMENTO

60 SER IMIGRANTE

BEING AN IMMIGRANT

PROJ EC TO S PROJ EC TS 61

62 SER IMIGRANTE

BEING AN IMMIGRANT

#04 CASA ISABEL

#05 CASA VERMELHA E VERDE

#06 CASA ERN ESTINA

PROJ EC TO S PROJ EC TS 63

#07 CASA JOÃO PEDRO

#08 CASA MARIA CON

#09 CASA JOHNNY

64 SER IMIGRANTE

BEING AN IMMIGRANT

C EIÇÃO MOTA

PROJ EC TO S PROJ EC TS 65

66 SER IMIGRANTE

BEING AN IMMIGRANT

#10 CASA A RLINDO VIEIRA GONÇAL

V ES

#11 CASA VENTURA CABRAL

#12 CASA JOSÉ GABRIEL

Levantamento

Elevations survey:

PROJ EC TO S PROJ EC TS 67

& COLLABORATIONS 2009-2010 Lisbon, Berlin

2011, collaborator Raumtaltik for Arch+ Issue 201/202: Berlin

2010, Concept idea Estoril Fashion Art Festival asked me to design a shirt for there first edition

CV Work: Writer Pin-Up Mag - Magazine for Architectural Entertainment 2011, next issue Article about chapels in Portugal Collaborator Raumtaktik - Office From a Better Future 2011 – Present (less than a year) Mostly working on architectural publications also helping curating/designing exhibitions. Collaborator Loadingdock5 September 2010 – November 2010 (3 months) International Competition, Place Lalla Yeddouna, A Neighborhood in the Medina of Fez, Morocco. Internship Urban A&O June 2010 – August 2010 (3 months) Innovate:Integrate exhibition for Center for Architecture Concept idea Estoril Fashion Art Festival, Boom shirt April 2010 - June 2010 I was invited to design a shirt. Article Collaboration Collaboration in the article “12 HOUSES in COVA DA MOURA” at Jornal dos Arquitectos March 2010 – June 2010 (4 months) Collaboration in the article, 12 Houses in Cova da Moura.

Project Design Orgânica Arquitectura November 2009 – January 2010 (5 months) Architecture Triennial Competition (EDP) Participant International Seminar “Rethinking Le Corbusier” May 2008 – May 2008 (1 month) With Beatriz Colomina, Arthur Ruegg, William Curtis,.... Model Maker OPR architects May 2007 – May 2007 (1 month) Participant 2G Competition Venice Lagoon Park January 2007 – May 2007 (5 months) Participant V International Seminar of Architecture, Azores, Pico July 2004 – August 2004 (2 months) Workshop made with Lacaton&Vassal Skills: Archicad, Autocad, Rhino, InDesign, Illustrator, Photoshop, Sketchup Languages: Portuguese,English, Spanish Education : Universidade Autónoma de Lisboa Master, Architecture 2007 – 2009 Universitat Ramon Llull, Barcelona 7º and 8º Semester, B.A. ERASMUS Program 2006 – 2007 Universidade Católica Portuguesa, Lisbon BS, Journalism 2000 – 2003

INFO: pereiradio@gmail.com skype.diogoppereira +49 176 74156733 +351916837342

pereiradio@gmail.com