Architecture portfolio, eduarda vieira 2014

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PORT Portfolio. architecture Eduarda Vieira 2014



Eduarda Vieira architecture portfolio | 2014


CONTENTS

[Academic Projects]

06 06 Hotel + Conference centre + SPA [Porto] architecture | F AUP | 2009-10

]Curriculum Vitae[

02

14 Municipal Library of Catalunya + Plaรงa de Catalunya [Barcelona] architecture + public space | ETSAB | 2ยบ Semestre 2011

]Professional Experience[

04

22

Arrebita! Porto

Collective Housing [Porto]

social entrepreneurship project on urban rehabilitation | 2014

housing + public space | FAUP | 2008


[Competition]

28

[Drawing]

32

Tanatorium [Porto] | Go Architecture! architecture | 2012

[Academic Research]

30 Master Thesis The Noir City: The Representation of Great American Cities in Film Noir city, cinema and architecture | FAUP | 2013

36 [Reference letter | 38]


Contact: eduarda.v0@gmail.com | +351 964 467 943

CV

Eduarda Maria de Sousa Vieira 16.04.1988 | Porto | Portugal

2014

Professional Experience ARREBITA! PORTO | TEAM 9 [April- June]

Social Entrepreneurship project dedicated to the rehabilitation of the inner city of Oporto Organization and coordination of teamwork ( comunications done entirely in English)

Monitoring of some of the works done in building site (e.g. scaffolding, placement of the beams) Continuous development and organization of the Architectural Drawings (software used: Archicad) Understanding of several of the technical aspects of a paradigmatic refurbishment case Promotion of the project and its network of Partners

Education 2013

Master of Architecture Faculdade de Arquitectura da Universidade do Porto final grade : 15/20

Master thesis: The Noir City: The Representation of Great American Cities in Film Noir final grade: 19/20 | Tutorship: Arch. Luís Urbano 2010 – 2011

International Exchange Program [ Erasmus ] Escola Tecnica Superior d’Arquitectura de Barcelona Universidade Politécnica da Catalunya. Spain Grand Via de les Cortes Catalanes, 585 08007 Barcelona

2006 - 2009

Bachelor of Architecture Faculdade de Arquitectura da Universidade do Porto Portugal Via Panorâmica 4150-755 Porto

Skills Artistic | Manual

Software

Great competence in meticulous hand work, namely in the construction of detailed physical models | Excellent dexterity in several drawing techniques | Good knowledge of both analogic and digital photography and video ( acquired in “Cinemarchitecture” and “Cinema and Architecture” workshops )

CAD | Archicad | AutoCAD 3D | Archicad | Rhinocerus | 3D Studio Max | Sketchup | Artlantis Image | Adobe Photoshop | Adobe Illustrator Video | Adobe Premiere Pro Other | Adobe InDesign | Office


Comunications | Papers 2013 2013

Paper [En] | “The Noir City: representation of urban space in Billy Wilder’s ‘Double Indemnity’ and Stanley Kubrick’s ‘Killer’s Kiss’” | Inter[sections], a Conference on Architecture, City and Cinema | FAUP, Porto | 13.09 Paper [Pt] | “A Carreira de Moinhos de Alvarenga, investigação histórica e premissas para a sua recuperação” | co-authors: Ana Campos, Cristina Pinho, Samuel Goncalves, João Gaspar; tutorship: Arch. Carla Garrido | Internacional Colloquium of Popular Architecture | Casa das Artes, Arcos de Valdevez | 4.04

Competition | Acknowledgment 2011 2010

Competition | Tanatorium in Porto | 48 hour student competition Go!Architecture V.03 | FAUP | 18-20.11 Exhibition | final exhibition 2010, Anuária | Selected project: Hotel and Conference Centre, Architecture Design 4, tutorship: Arch. João Pedro Serôdio | FAUP, Porto

Workshops | Courses 2011 2011 2010

3D Modelling Workshop with Rhinoceros | OPO’Lab, Oporto Laboratory of Architecture & Design | Porto | 13 - 17. 02 Workshop Cinema and Architecture and summer course Revolutions, Arquitectura and cinema in the Sixties | organized by Silent Rupture, Intersections between architecture and film | FAUP | Porto | 7 - 12.07 Cinemarchitecture, International Workshop on Architecture and Film | organised by : Estonian Academy of Arts, Faculdade de Arquitectura da Universidade of Porto, Department of Architecture of the University of Cambridge and School of Architecture of the University of Liverpool | EAA , Tallin | 18 - 28.07

Video 2012 2011

2014

2013

“Vianna da Motta, Ballada nº1 Op16” | Photography and editing | co-authors Marta Martins, Diogo Real “New Image Competition Dédalo magazine” | promotional video for Dédalo magazine, issue #9 “Displaced” | FAUP Other Design | UM TIA-GT, Unidade missão Timor-Leste, Indonésia Austrália, Growth Triangle | corporate image design

Voluntary Work

Voluntary at the Museum of Contemporary Art, Serralves since May 2012

Languages Portuguese mother tongue English ( C- proficient user ) IELTS certificate | 8 band score Spanish( B1 - independent user) German ( A2 - basic user) French ( A2 - basic user) Catalan ( A1 - basic user)

[Language courses]

German Level A1 - A2| 18/20 Faculdade de Letras da Universidade do Porto | 09. 2012 - 07.2013 Erasmus Intensive course, Catalan, Level A1 | 8/10 Universidade de Barcelona | 22.08 - 5.09.2009 Aditional information Basic Life Support certificate Driving License B


Arrebita! Porto social entreupreneurship project | urban rehabilitation | Porto April - July 2014 coordinators : José Paixão, Rita Ferreira, Daniel Barbosa, Natalia Solano Meza team 9: Eduarda Vieira [pt], Alina Reinartz [gr], Diana Giráldez [sp], Elena Bejor [it], Cristiano Pepi [it]

4|

Arrebita! Porto is a social entrepreneurship project dedicated to the rehabilitation of the inner city of Oporto awarded by the competition “FAZ, ideias de origem portuguesa” by the Calouste Gulbenkian Foundation. It consists an innovative collaborative model which explores the synergies between a network of collaborators – young architects, engineers, established professionals, construction companies, suppliers and the local community – towards a sustainable refurbishment of the city centre. This model operates through a set of exchanges between the parties from which they benefit. Those benefits can be of a varied natures, from knowledge, to promotion of products and services. The pilot project for this model concerns the refurbishment of a building in the medieval core of the city. The project design was developed by a group of international teams composed by young architects and engineers (students and graduates fresh out of college, with no relevant professional experience) who work voluntarily during three intensive months under the supervision and monitoring of a permanent support team of professionals. The scope of work by the teams includes not only the design conception, but the promotion of the project, communication of its network of partners and performance of tasks in the building site- hands on learning experience. The international Team 9, which I took part of, was involved in the construction phase of the project, its continuous development and its divulgence in several occasions. My learning experience, therefore, went beyond the technical aspects of refurbishment. It involved teamwork coordination, mobilization of different parties and it was an elucidative first contact with how a building site works. Overall, it was a motivational learning process with a direct social impact.

[teams]

[dissemination of the project]

[contact with the building site ]

[cooperation between partners]

[2nd floor Housing unit 2 ]

[1st floor Housing Unit 1]

[ground floor commercial space]

[basement commercial space]


[Pilot Project nº 42, Rua da Reboleira, Porto] The program devised for the target building is composed by a commercial space in the ground floor, and low-cost housing for the first and second floor. Along with the building’s features (especially in what concerns natural light) all these aspects shaped the project design. In this sense, for the housing it was conceived two open spaces organised by a standardized volume which comprise all of the services (WC, kitchen, closet and laundry) in order not only to provide a flexible space for future residents, but to make the most out of poor lighting conditions. Simultaneously, this box was developed for standard product, easily manufactured that could be sold separately, customised and applied in similar cases – the A!box. |5

[kitchen]

11

[ WC | laundry ]

2 1 W

[A!BOX]


Hotel ***** + Conference Centre + Spa Massarelos | Porto

2009/10 | Architecture Design 4 teacher: João Pedro Serôdio studio head: Carlos Guimarães

6|


N

The objective of this [last] architecture design studio was to develop a complex, demanding programme in a challenging location in the city of Oporto. This exercise proved to be particularly chalenging - a project of a five star by the riverside equiped with a conference centre and a SPA, directly adjacent to a problematic high-density social neighbourhood. Consequently, it was my intention to exploit a morphology that would be responsive to its complex surroundings and, foremost, inclusive . The developed design consists of two volumes, a lower one that contains all the common areas and relevant service areas – conference centre, front desk, lounge, bar, kitchen, back office, administrative offices and SPA – and a tower with the private areas rooms, suites, and a panoramic restaurant on the two top floors. The morphology of lower volume was shaped from the site topography. It meets the height of the lower river frontline buildings. The SPA was strategically elevated and designed further back in order to preserve its due privacy. The tower was placed further back, closer to the existing set of social housing tower blocks built in the seventies– an option that I believed to carry an inclusive intention, although, naively. The position of his tower was devised in order to enhance the southwest view which almost meets the ocean, given that the city’s topography.

|7


restaurant

presidencial suite + bedroom

bedrooms (w-e) + suites (s)

1 st floor| Spa

ground floor, W | conference centre

8| entrance

ground floor, S | restaurant, front desk, lounge and bar

0 | generator 1.1 | Hotel entrance 1.2 | conference centre entrance 1.3 | service entrance 2.1 | reception 2.2 | waiting areas 2.3 | bar 2.4 | buffet, restaurant 3 | service areas 3.1 | back office 3.2 | offices 3.3 | storage 3.4 | kitchen | 3.4.1 copa | 3.4.2 zonas de confecção | 3.4.3 chef's office | 3.4.4 garbage area 3.5 | staff area 3.6 | meeting room 3.7 | WC 3.8 | staff locker room 3.9 | laundry 3.10 | HVCA and cistern 4 | conference centre C-03

4.1 | conference rooms 4.2 | auditorium 4.3 | courtyard [exterior] 5 | small courtyards 6 | elevators

[planta piso - 1| parking service entrance ]

1.3


3.9

3.8 3.8 3.10 3.7 6 5

4.2

3.2 3.2 5

2.2

3.2 3.4.4

3.2 3.3

4.1

5

3.3

3.2

4.1

2.2

3.2 5

3.3

3.4.3 3.4

|9 2.2 3.6

4.1 4.1

4.3

3.5

5

3.4.2

2.2

3.1 2.5

3.4.1 2.1 4 2.4

2.3

1.1

1.2 0

[Ground floor plan | Main common area and services | conference centre] ]


ducationalVersion

10|


[16th floor | restaurant ]

[15th floor | restaurant ]

[14th floor | Presidencial suite ]

[4th - 13rd floors | bedrooms + junior suites ]

| 11


[construction detail | facade ] 1 gravel

25 lightweight concrete and

2 geotextile blanket

self-levelling mortar

3 insulation

26 root barrier

4 | 5 self-leveling layer

27 waterproof barrier

7 carpet

28 insulation

8 lightweight concrete slab

29 drainage layer

9 L profile

30 earth

10 acoustic foam barrier

32 pre-cast concrete slabs

11 self-leveling mortar 12 leightweight concrete 13 glass with solar control 1

Goda

2

Isolamento

4 5

regularizaçã Camada

14 window [vitrosca] Geotexti

3 Imperbeabilizaçã 15 vistrosca component (rain water)

16 subsill

17 custom facade components : metal support elements + galvanized steel cap 18 customized metal elements - facade 19 metal L profile 20 insulation 21 blackout 22 plasterboard 23 rockwool 24 waffle concrete slab 13 14 15 16 17 18

12|

Alcatif 7 Lajeta 8 9 Manta 10 11 Regularizaçã 12

[ right | view | bedroom ]

19 20

[ bellow left | sections | bedroom ] [ bellow, right | floor plan | bedroom ]

21 22 23

24 25 26 27 28 29 30

32


| 13

Normal


Municipal Library of Catalunya + Refurbishment of Plaรงa de Catalunya Barcelona | Spain

2010/11 | ETSAB | Proyectos X teachers: Eduard Bru e Aquiles Gonzรกlez PUBLIC SPACE DESIGN PROJECT team: Eduarda Vieira, Marcos Maia

14|

1.

M i


location

Briefly, the Catalunya Square, the second biggest in Spain, is essentially one of the most central and relevant public spaces of the city of Barcelona. It is its political and social epicentre. Additionally, it constitutes one central nodule in the city’s public transportation system gathering bus, subway and a train station [underground], taxi and several parking [also underground]. In short, it is the arrival and departure spot for thousands of commuters and tourists every day.

study | ground floor use

underground levels

plaça de Catalunya Street shops

Department stores and shopping malls Library Site Parking Theatre

Study | transportation systems and green areas

Our proposal reorganized all the elements [information spots, subway, bus stops, and underground parking entrances] under one single surface whose topography was carefully shaped to create two entrances: for the underground train station, bus stop and underground parking at South, and a second for the tourism office and subway station at North. Consequently, the central space remained unobstructed, and through the project’s topography it was possible to gather two “more intimate” areas with with park benchs and trees.

| 15

“Indignados” May 2011

pro-independence demonstration Outober 2013

Underground Parking entrances Subway and Train entrances Bus Stops News and temporary food stands

final solution

100 m

P

N


ARCHITECTURE | MUNICIPAL LIBRARY individual project The urban space design project for Plaça de Catalunya was a supplementary exercise to the individual assignment – the development a project for the Municipal Library of Catalonia in one of three specific quarters [South, North and East]. Accordingly, I chose the North quarter, a corner building with Passeig de Grácia, one of the most emblematic and relevant streets of the city and one of the first of Ildefons Cerdà extension plan to be completely built by the end of the nineteenth century.

16|

The design process of this particular project revolved around the concept of a “corner building”. This concern was mostly motivated by the design of the city’s grid plan and its bevelled corners [an important component of the city’s image]. The investigation process intended to squarely establish continuity with history. The intertwining volumes that comprise the final project were designed in order to create a main corner face, pivoted slightly to the left, facing the square. The morphology of this project resulted of the intersection between basic volumes which contained different components of the program. The Library program was organized in different levels of privacy – starting from the entrance and information desk, children’s area and Newspapers, going all the way up to the study rooms at the top. The main volume, where these spaces are organized around a central area, was accompanied by a second west volume which contains service areas and administrative offices [it is important to point out Louis Kahn as an important influence to this particular project].

[ North Elevation | Passeig de Grácia ]


Top Volume Working area | Classrooms Terrace | Lounge | Coffee shop

Supporting Volume Service areas Administrative offices

Main Volume General Collection and reading areas Periodicals section | Teen area Entrance | Passeig dela Gracia Ground floor and mezzanine Hall | Information desk | Children's area

Entrance | Plaรงa dela Catalunya

-1 and -2 floors Archive | Auditorium

| 17

[ East Elevation | Plaรงa de Catalunya ]


C'

C

C'

C

d'

d

d

d'

piso 7 | zonas de trabalho

2nd floor | General Catalogue | reading areas | administrative offices

1st Floor | Newspapers | Information desk GSEducationalVersion

GSEducationalVersion

C'

C

C

C'

18|

d

d'

d

Ground Floor | entrance | children's Area GSEducationalVersion

d'

piso 0

GSEducationalVersion

Basement | archive | Auditorium


| 19

Section C - C'


C

C'

d

d'

[ 8th Floor | working areas ] GSEducationalVersion

[ Central space | Reading area ] [ Section D | S - N | Entrance ]

C' d'

d

20|

C

[ Section A | E - W | Central space ]

[ 7th floor | bar | terrace ]

C

C'

d

d'

GSEducationalVersion

[ 3rd- 6th floor | General C | teen area | working areas ] GSEducationalVersion


| 21


Collective Housing Paranhos | Porto

2008/09 | Architecture Design 3 Teacher: Paula Petiz Studio head: José Soares Carneiro The second semester of Architectural Design 3, was structured in three phases: the first phase concerned an urban plan for a central area of the city of Porto with housing, commerce and offices; the second, a further development of a collective housing project in one of the three quarters devised; and lastly, a further detailing of its construction aspects - from the urban scale to the construction detail.

22|

The developed quarter was comprised by a residential building facing the main street with shops in the ground floor [Serpa Pinto] and an office building facing North. The intersection of the two volumes is where the main entrance is located. The access to the dwellings [three bedroom duplex] is made by an exterior gallery facing the courtyard.

Rua Egas Moniz

Rua Serp

Rua da Constituição

The purpose of this exercise was, essentially, the understanding of the program demands and challenges, its legal determinants [the building codes and regulations], and technical aspects of construction – which were developed in coordination with “Construction” subject. Therefore, it proved to be a conservative learning approach, valuing a more “ordinary” housing design, for the practical knowledge it contains, and as a way to later understand the “exceptional”.

[ North Elevation | Rua Serpa Pinto ]

[ South Elevation | Rua Egas Moniz ]


pa Pinto

| 23

[ East Elevation | inner Courtyard]

[ North Elevation | Rua da Constituição ]


Offices

24|

Ground floor | commercial spaces

Floors 1, 3 and 5 | Housing

Floors 2, 4 and 6 | Housing


c

5

8

7

a

2

5

1

9

4 9

6

3

a

c

b

[Dwelling Unit | 2nd Floor]

1 Hallway | 2-4 Bedroom | 5 Closet | 6 -7 Bathroom | 8 escrit贸rio | 9 Balcony | a. Shafts | b. frosted glass separation | c. Rainwater pipe , downpipe

| 25

10

13

14

9

11

a

12

[Dwelling Unit | 1st floor]

10 Entrance Hall | 11 Living room | 12 Kitchen | 13 Laundry | 14 Small bathroom | 15 Balcony | a. Shafts | b. downpipe


26|

[ Section C-C' | Collective Housing Building ]


46

47

45

44

28 27 42

8

30

16

43 31

41

39

19

22

21

34

| 27

33

35

27

36

37

21

22

17

32

40

31 30

29 28 27 26 25 24

[Construction detail | Facade ]

23 19

20

16 15 17

14 11

12

18

11

13

10

1 9 6 8 5 7 4

3

2

1

2 concrete slab

24 aluminium subsill

3 geotextile blanket

25 standard metal L section

[waterproofing]

26 waterproof paint

4 drainage sheets

27 extruded Polystyrene sheet

5 drain

28 self leveling mortar

6 earth

29 acrylic plaster

7 screed

30 pvc waterproof sheet

8 geotextile blanket

31 edge strip

9 gravel

32 acrylic self-leveling plaster

10 mortar

33 metal profile

11 cementitious adhesive

34 stone cap

12 stone pavement

35 self leveling mortar

13 door step

37 concrete paving slab

14 slidding window

38 aluminium slidding window

15 aluminium subsill

39 concrete slab

16 lightweight concrete

40 wood floor

17 self-leveling mortar

41 concrete window sill

18 stone floor tiles

42 gravel surface

19 blackout

43 rainwater drain

20 suspended plasterboard ceiling 44 metal strap 21 rockwool

45 metallic parawpet cap

22 plasterboard

46 L plastic profile


Tanatorium* Agramonte | Porto

Competition GO!ARCHITECTURE V.03 organization - AEFAUP | 18-21.10. 2012 team : Ana Campos, Cristina Pinho, Eduarda Vieira

28|

The central concern of the project was to design a careful transition between day-to-day reality and the mourning rituals. Namely, by pursuing a design with spatial qualities that foster the required symbolic and spiritual weight of such experience, while remaining flexible to each religions’ requirements. Our team envisioned a ceremonial route that is charged further intimacy and intensity: starting at the entrance and going all the way up to the ceremonial space [sala de despedida]. This designed route goes through the waiting room to the chapels of rest, and rises up to the dome. From the ceremonial space, the exit is made through a different path that progressively detaches the user from the ceremony’s inherent intensity. The shape of the ceremonial space - the dome – is related to its underlying symbolism (which is related with the universe, life, origin etc) which is present in almost all religions and beliefs, therefore flexible to any desired ceremony.

EXIT

The creative process which led to this project was an uncompromised research, fundamentally supported on hand-drawing techniques and a model. For all of these reasons I hold it dearly.

1 2 3 4 5

Entrance Ceremonial space Chapels or rest Exit Parking space

Coffee shop 6 Flower shop 7 Back office 9 - 8 Service entrance 10 Service area | morgue and preparation of bodies 11 Waiting room 12 Waiting room | lounge 13 [1st floor plan | exit route ]

[ Ground floor plan | entrance route ]


[making of the Dome model] Chapels of rest

Ceremonial Space

Waiting room | Lounge

| 29

ENTRANCE [ project landscape | model | scale 1/200]

*

funeral home; a group facilities devised to host different kinds of memmorial services.

[section | Dome and site landscape | hand drawn ]


The Noir City

[The Representation of Great American Cities in Film Noir] 2013 | Faculdade de Arquitectura da Universidade do Porto | Master Thesis tutorship: Luís Urbano

In the same way that buildings and cities create and preserve images of culture and a particular way of life, cinema illuminates the cultural archeology of both the time of its making and the era that it depicts. – Pallasmaa, Juhani in “The Architecture of the Image” The present academic investigation stemmed from my own personal interest. In its origin lies the conviction that the exercises of intersection between different fields of study – architecture, urbanism and cinema – are mutually complementary. As such, I decided to observe the city through cinema, using cinema to highlight matters of an architectonic and urban nature. 30| The film noir, the cinematographic phenomenon at the core of this dissertation, holds a special place in the history of cinema, being defined by the reunion and categorization of classic films that developed an emblematic urban imagery. Circumscribed in time and space, the film noir condenses depictions of the great American cities in the post-war, which assume a protagonist role. Their image is influenced by the issues derived from decentralization and sprawl dynamics in urban development. It also derives from a particular cultural framework - hardboiled literature and cinematographic movements, such as neo-realism and German expressionism, which shaped each filmmaker’s career. Raymond Borde and Étienne Chaumeton, the authors of the “Panorama of American film noir” published in 1955, suggested that film noir “responded to an emotive resonance” that was specific to a time and place. This statement implied that the gloomy nature of these films was directly related to its historical framework.

Admittedly, the period from 1941 to 1958 was a tumultuous time marked by important conflicts in Western history, as well as by profound transformations in the social landscape and an important urban development in the United States. These films channeled the war anxieties and social animosities between men and women into the screen by presenting a very peculiar imaginary of crime and corruption that gave an appealing image of the city as a rough enviroment. Namely, the city centers proved to be the ideal canvas for the development of grim and morose stories inhabited by lonely characters, where the urban spaces assumed a protagonist role. Furthermore, encouraged by Italian neorealism and war documentaries, noir filmmakers progressively moved filming from the studio to the streets. Therefore, developing this image closer to the urban unravel of the time. In view of this dialogue between the city and its representation, the investigation endeavoured to understand how the film noir depicted and interacted with the changing cityscape. By observing, in a first level, the frame of transformations and events that defined urban development, I attempted to clarify how the urban issues were appropriated by cinema. Secondly, I undertook the analysis of two case studies – Los Angeles in “Double Indemmity” and New York in “Killer’s Kiss”, while articulating architecture and urban space with their representation. In doing this, I intended to survey, in a general way, the depiction of the city in film noir in light of the reality that inspired it.


cap. I | film noir, the construction of a phenomenon

cap. II | the city in film noir | war, growth and urban unrest

cap. IV | two noir cities | Los Angeles | "Double Indemnity, 1944

| 31

cap.IV | two noir cities | New York | "Killer's Kiss", 1955

Stanley Kubrick | Joseph Losey | Fritz Lang "Germania Anno Zero", 1948, dir.: Roberto Rosselini Levvitown, New York | "Heatspell", New York by Weegee 1943 | Hiroshima, 1945 | Jane Jacobs, 1963 "Double Indemnity", 1944, dir.: Biily Wilder "Killer's Kiss", 1955, dir.: Stanley Kubrick "Phantom Lady", 1947 dir.: Robert Siodmak | "When Strangers Marry", 1944 dir.: William Castle


Drawing

32|


| 33

[watercolor | pencil | lead | dry pastel ]

[charcoal | watercolor and pen sketches]


sketch book

34|

[romanic church | Santa Cristina de Serzedelo | Guimar達es ]

[romanic and gothic | Igreja de Santa Cruz | Coimbra ]


[visigotic church | S. Furtuoso de MontĂŠlios | Braga ]

[above | Museum of Serralves] [ left | Infante Bridge | | Porto] [bellow | Carmelitas Church and Guindais | Porto ]

| 35

[Casa dos Coimbras | Braga ] [romanic architecture | Igreja de S. Tiago | Coimbra ]

[SĂŠ de Coimbra ]


Video

colour | 9’39’’ | 2012 edition and photography [canon EOS 600/650 D] co-authors: Diogo Real [performer] , Marta Martins

36|

Piano preformance of “Ballada nº1, Op. 16” from the portuguese composer, Vianna de Motta [1868-1948] one of the most relevant composers of the turn of the century in Portugal. This preformance was filmed at the musical conservatorium of Gaia, who we kindly thank for lending us the space.

http://vimeo.com/32132738


https://www.youtube.com/watch?v=93flh6fYU9c | http://vimeo.com/52324646

| 37

Dédalo’s dESIGN competition colour | 1’09’’ | 2011 stop motion photography [canon EOS 600D] authorship: team Dédalo #9 team Promotional video for Dédalo’s magazine issue #9 design competition. Stop motion animation using previous issues of Dédalo magazine. Designed, photographed and edited in colaboration with the editorial team of Dédalo magazine.


Reference letter | Arrebita!Porto

3rd July 2014

To whom it may concern, It is my pleasure to commend Eduarda Vieira who I met as a participant in Arrebita!, a collective effort to fight inner city abandonment in Porto that I founded and coordinate. During a three-month period, between April and June 2014, she carried out varied tasks pertaining to our refurbishment project that ranged from design related work to supervising operations underway on the building site. Eduarda displayed a great level of commitment in resolving the many challenges presented and took an interest in using this experience to gain professional practice and learn. Indeed, it was with delight that we witnessed her grow and develop qualities and skills that will certainly come in to be essential in the pursuit of her career and dreams. We have no doubt of the great potential her future holds in store and hope this reference letter may encourage others 38| to partake as well in its full realization. Please do not hesitate to get in contact for any further inquiries. Yours sincerely,

(Jose Paixao)

Centro de Inovação Social Rua de Bonjóia, nº185 4300-082 Porto (+351) 936 667 627 info@arrebita.org www.arrebita.org


| 39


Eduarda Vieira contact | +351 964467943 eduarda.v0@gmail.com



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