hugo lopes
e in august 2019 with 98 pages mad o oli rtf po e siz a4 an
portfolio
1
works from
2016 - 2019
dedicated to my mom and dad, those who keep making all of this possible.
content page
page 5
Curriculum Vitae
page 6
Long Bristol and a Foundation of Ideas for the City Where I Live
page 38
See How Anxious I am
page 54
We Can Take it Out to Sea
page 58
The Image that Counts
page 62
Shhhh, silence celebration
page 66
Permesso! page 72
A bin at the same level
page 76
10 houses in Bridgwater
page 90
Parhelia page 91
I used to throw it away
hugo lopes,
CURRICULUM VITAE
@hugo.lo issuu.com/h.monteirolopes
Education 2016-2019: RIBA part 1 Architecture BSc from UWE Bristol (First Class Honours) 2014-2016: Visual Arts in High School, Portugal
Distinctions 2019: Nominee for the Architects Journal Student Prize 2019: RIBA President’s Bronze Medal Nominee Prize 2019: Awarded the best piece of academic writing by a student whose first language is not English with ‘The Image That Counts’
Work 2019: Chef at Fed 303, Bristol 2018: Fellow for the Venice Architecture Biennale with the British Council 2018: Chef at The Washington Hotel, Bristol 2017: Architectural Internship at Aires Mateus, Lisbon
Exhibitions 2019: ‘We Can Take It Out To Sea’ featured at ‘Here and There’ short-film screening, Lisbon 2019: Exhibited ‘Permesso!’ at After Island - British Council, RIBA North, Liverpool 2019: Part of the organising team of Space, Sound, Sensation, Bristol 2018: ‘Shhhh - Sound Installation + Silence Day’ at the Faculty of Built Environment, Bristol
Publications 2019: ‘Shhh - slippers, a dark room and a sound installation’ at UWE Conference Student Conference 2018: ‘We Can Take it out to Sea’ published at Babel Journal
Competitions 2018: A bridge for Bristol’s Harbourside 2017: ‘Parhelia’, a thought on modular sustainable housing
Languages English, Portuguese, Basic Spanish
LONG BRISTOL
AND A FOUNDATION OF IDEAS FOR THE CITY WHERE I LIVE december 2018 - may 2019
This project started as a response to the rapid change of the fabric of the city where I live. In the city, it was observed that gradually people have been responding to the change through events and festivals that seek to contribute and better understand the change of the city - moments that generate ideas. As the project developed, it was found that to adequately respond to the constant change of the city, it was important to address how it is imagined by its people. Through an exploration that starts by re- interpreting the city by mapping its ideas this project questions the coexistence and relationship between the constant construction and re-construction of the real city and the city constructed in our minds, and explores the value of ideas in the midst of this process. By assuming that ideas are the instigators of the change, a Foundation for the Ideas of the City is proposed, suggesting a different time and place for the ideas of the city. The Foundation will collect, analyse and test the ideas for the city where I live - an attempt to materialise the idea for the constructed reality of the city. All these ideas will be registered and archived forever in order to create a collective repository of the ideas of the people of the city. The substance of the archive constitutes a city which cannot be constructed in the concrete reality above the ground, a city which lies in our minds and can only be seen through the ideas of others. The city which we all imagine: Long Bristol.
G II N L A T A S T R N G N L S T R A A T N L G N I T A T R S A L G N I N R T T S A A N L T R S A N S L AT I N G T R A T R NG I TRAN T A L S N S L AT I N G T A R TRAN TING TRANSLA TING TRANSLA TING TRANSLA G II N T A L TRANS G N T A L S G N I N T T A A L S R N T A R T
E H T E T H T E TH HE E T H THE THE E THE THE THE T H E T H THE E
A E III D A E D A E D A E D A II D E A D A E IDE A A II D E A DE A IDE A E IDEA IDEA IDEA II D E A DEA ID EA A
1.
A space projects into somewhere.
2.
Another space emerges in that projection
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III N T III N N O T N O T N O T II N O T N O T N T O II N O T O N T T II N O O T O T IN O N T IN O INTO INTO II N T O NT O IN T O TO
A N A N A N A N A N A N A N N A A AN N A AN N AN AN AN AN A N A N AN
L A C T U R A C U E T R L A C E T T U L I C E T A U R T H I L C E T C R T H A I R U A E T C C H I R R U A T T C C E H L III T R A U C E C T A H R A C T R R L T C E A H T A C E H U R C I A C R T R H A II T E C T C L U R A H A C R R T H A E CTURAL T ARC I E H T C R HI ECTURAL A ARC TEC U AL I H C R A TECTURAL I H C ARCHITECTUR L A R L AR HITECT A U R T U ARC T C I T E H C TEC R I A H C T RCHI A R A
N T M E N T E L M E E T N E L T M E E N L T E E E N M T ELEME N T N E T L N E E M E T ELEMENT ELEMENT ELEMENT ELEMENT ELEMENT T N L E E M E T L E E M N E ELEMENT T NT
4.
The space looks for other spaces to project itself.
3.
The two spaces are connected. They become the same space
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Underneath the layer of the constructed city, exists a city composed only of the ideas never materialised
1. THE CONSTR UCT ED CITY
2. SEEPING OF IDEAS
3. STORAGE OF IDEAS
4. RE-PROJE CTION OF IDEAS
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The Foundation’s purpose is to connect both layers of the city to contribute to a more comprehensive understanding of the city where we live based on the ideas of the people of the city.
this is the layer of a city where ideas for the city are materialised
all the ideas never materialised in the constructed reality of the city permeate our minds towards the harbour of the city
th e harbour of the city where I live as been storing in liquid form all the forgotten, discarded, suspended and unheard ideas for the city
on the deepes t layer of the city where I live a city constr ucted only upon the ideas of the people of the city for the city exists - Long Bristo l
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HOTWELLS
FOUNDATION OF IDEAS
river
1. Foundation’s location in the city where I live
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avon
CITY CENTRE
ha
SPIKE ISLAND
rbo
urs
ide
SOUTHVILLE
The Foundation sits at the entrance of the Harbourside of the city - once the gates to the city. The different ideas are a contribute to the design and construction of the Foundation. In fact, they determine the course of the building’s live. In addition to being connected with several institutions of the city (such as museums, universities and schools to collect the ideas there conceived), some elements of the Foundation can spread throughout the city. This is inspired by the character of the site, similar to an island, which confers to the Foundation the potential of travelling to find other possible connective elements, conducted by the Harbourside.
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2. Concept development of the Foundation’s design
2.1. Modelling the foot-print of the idea-element, based on the translation of an idea into an architectural element (page 8 and 9)
Ideas grow and develop when shared or discussed. When discussing an idea, we often have to be able to adopt different positions to better understand the idea being discussed.
2.2. Study of the mechanisms and technology of ideaelements - rotation, connections, services, support, envelope.
An idea evolves because new elements are introduced or combined, or the idea itself is reoriented to be seen in a different way. The idea grows into something new - it adapts, and our understanding of the idea also grows, therefore we also adapt. The design of the Foundation responds to the way ideas move through the city and grow. The spaces/ elements where the ideas are being materialised the idea-elements, offer the chance of deviation of spaces through rotation. A deviation can mean either change in view, a change in size or a change of connection. This way, the Foundation’s Architecture reciprocates the ideas of the city.
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2.3. Concept model for the Foundation. The idea-elements are supported by thick columns which will connect with the deepest layers of the city.
Above the ground, at the level of the constructed city, the idea-elements receive the ideas from the city and provide the space for the materialisation of the ideas. Underground, reaching for the deepest layer of the city, the ideas are sent from the idea-elements to the several departments of the Foundation where the ideas from the people of the city are analysed, curated, archived and re-projected.
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3. Journey of an idea from the city through the Foundation
1. collected From the institutions connected to the Foundation and idea-booths spread throughout the city, the ideas for the city, are collected and sent to the Foundation.
2. converted
3. materialised
As ideas come in different formats (as a physical artefact, voice recording, sketches, photographs, etc) they are converted into a format which can be decoded and interpreted throughout all spaces in the Foundation.
In the spaces that have the ability to rotate (idea-elements) and assume different functions, the ideas are then materialised - constructed, performed, modelled, viewed, listened or discussed
4. analysed The outcome of the materialisation of the ideas are then sent through the columns to be analysed
+ 3500 m
+2.000 m, +2.500 m
+0.000 m
-3.000 m
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8. departure By looking carefully to this process we can see how what makes the ideas move is, ultimately, the people of the city. When leaving Long-Bristol, the users rise back to the constructed city in a glass lift shaft.
5. curated After being analysed, the ideas are then curated in the archives in terms of size, time and city location. This way is easier to navigate in the archives.
6. archived In the archive section, all the ideas of the city will be stored for the millennium. The archive constitutes the repository of how the city is being imagined.
7. re-projected In the midst of this process, some ideas will be re-projected in a space that can be seen as a digital library. It is designed as a cave which is lit by the columns whenever ideas are running up and down. -5.000 m
-7.000 m
-10.000 m
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1. 2. 3. 4.
5.
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L AY E RIN G O F T HE FOU N DAT I O N
i d e a- e le m e nts
c u r a t orial de partm e nt - analysis of ideas being materialised and received in the Foundation - curate/systematize ideas for the archive
private
p u b lic prom e nade
public
- materialisation of an idea from the city - retrospectively understand an idea
arch ive - repository of all the ideas for the city from the people of the city, for the millennium
L ong Bristol - re-projection of ideas archived and materialised in idea-elements
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1.
2.
3.
4. The Foundation’s constructive resolution & design approach to the site 1. the site is a stone island, 2. excavated until the deepest layer of the city where the ideas never materialised have been stored, 3. perforated with thick columns, placed by boat-cranes, to connect the ideas stored in the deepest of the layers to the ideas in the constructed reality of the city 4. the remains of the site excavation are used for underground cave where ideas are re-projected. 5. on the level of the constructed city, a footpath drawn based on the idea-element extends from the city and creates nooks for an idea to be materialised 6. the idea-elements are inserted in the columns 3 metres above the ground and together they move in response to the ideas for the city.
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4.
5.
6.
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5. Idea-elements
SCENARIO 1 - A SPACE TO DISCUSS AN IDEA
When the elements are open, each element is an individual debating area, allowing more open-space in the area underneath. When they close, it becomes a collective discussion chamber and a different rotation of another element takes place.
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SCENARIO 2 - A SPACE TO PERFORM AN IDEA
When the idea-elements are open, a big-open space provides enough space to build scenarios and construct elements that support an idea from the city. When the idea-elements close, they become a platform for experimental performances.
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AMALGAMATION #1 When entering the Foundation through the pedestrian promenade two idea elements above the eye-line frame the view. The amphitheatre is partially covered by the idea-element above which as a secondary stage for the performance.
AMALGAMATION #2 At this point, all the ideas elements on the periphery point south. Perhaps the ideas being there materialised need more exposure to sunlight and the fact that they all overhang the river conveys a different atmosphere.
AMALGAMATION #3 The two idea-elements at the start of the promenade are now parallel to the footpath - probably so that the people that use the use the site only as a passage point can have a glimpse of what is happening inside. The one above the amphi-theatre is now attached to the green-house
AMALGAMATION #4 In this combination the idea-element at the top of the island points at Clifton Suspension Bridge probably as an experiment for one of the ideas.
5.1 Idea-elements Some elements of the building can rotate to offer different conditions to the understanding and materialisation of an idea. The elements that can rotate provide spaces where an idea is constructed, performed, discussed, grown, tested, distorted, amplified, reduced, moulded, stitched, expanded, distilled... Due to the character of an idea, the spaces where ideas are materialised can’t be stagnant. These spaces can’t be stagnant because even if what is happening inside that space involves the movement of people, and the idea has already gone through other spaces of materialisation, the adaptability of the space itself gives more chances for the idea to grow, and consequently, to be better understood Therefore, it’s the ideas from the city that make the elements move.
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1:50 AXONOMETRIC OF IDEA-ELEMENTS
On the level of the constructed city, a footpath, which is drawn based on the idea-element, extends from the city and creates nooks throughout the stone island for an idea to be materialised (like the amphitheatre shown below). Besides conducting the ideas through the Foundation, the columns also act as structural elements. They support the idea-elements through a swivel mechanical inspired by Brunel’s Bridge. The idea-elements rotate by activating its mechanism hidden in the column when an idea needs different spatial or environmental conditions.
1:50 SECTION THROUGH AMPHI-THEATRE SHOWN IN MAP (PAGE 27)
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1:200 GROUND FLOOR PLAN PROMENADE BELLOW IDEA-ELEMENTS
1:20 DETAIL DRAWING OF IDEA-ARCHIVE & 1:200 LONG -SECTION THROUGH THE FOUNDATION SHOWING THE ARCHIVE FOR THE MILLENNIUM
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1:100 TECTONIC MODEL The deeper the levels of the Foundation get, the rougher, less technical, gloomier and grounded to the earth they get. It reflects the vertical layering of our city and makes clear that Long Bristol is not about the constructed forms and volumes. Its a city constructed of ideas.
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LONG BRISTOL’S CAVE
The cave where ideas are re-projected is only lit when ideas run through the columns. There is a trigger-sensor at the bottom of each column which turns on the LED’s surrounding the column.
idea-elements
analysis and curation of ideas archive of ideas
re-projection of ideas (LONG BRISTOL)
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1:100 SHORT-SECTION THROUGH THE FOUNDATION
Long Bristol is a city extend in time, In our minds. It’s dark until an idea comes. A ceremony. It has always existed, it will always exist. You just have to dig deep down. Long Bristol doesn’t have a physical form. - a reality built in our unconscious. Bristol and Long Bristol co-exist in the same territory The same geography. They reciprocate. When the gates open, both these cities combine. “I can ear the echo of the gates: ‘Qrrrr, Qrrrrr’, and the waters from those two cities mixing in perfect harmony. They dance with each other. Up, at the top of the island, something moves every now and then. Never static. Like an idea. Like our ideas. So beautiful, the ideas for the city where we live.
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SEE HOW ANXIOUS I AM [a living pod]
september 2018 - december 2018
A living pod for those with anxiety. But, if according to Ricarda Salecl anxiety is an essential human condition, does it mean this is a living pod for everyone? Anxiety has always been something that we want to get rid off. The eternal wish to escape from this emotion means that each one of us deals with it in a different way. This project embraces anxiety. By creating a direct and responsive relationship between the inside (what we feel) and the outside (what we manifest), the second skin of the pod deforms and mutates with every movement of the users in the inner cells, thus revealing how we feel ‘inside’ - how anxious we are.
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Riv
er A von
Bathurst Basin
SEE WHERE I AM Exploded axonometric of pod’s structural components
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AND SEE WHAT MAKES ME Exploded axonometric of pod’s structural components
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42 SEE HOW I STARTED
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SEE MY HOW I HOLD MYSELF 1:20 structural model
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AND SEE HOW I BREATH Environmental strategy for the pod’s inner cells
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1:200 SECTION- MODEL OF ONE OF THE CELLS OF THE POD
INTERIOR OF THE CELLS The soft, fluffy material covering the whole cell, aims to help the user become neutral to his surroundings. Almost like being inside a cloud - boundless and protective. The bouncy and inwards facing character of the cell will let the user understand that in there be him or herself in a pure state.
1.1 RESPONSIVE SKIN, KINETIC FAÇADE Study of the mechanisms and technology of ideaelements - rotation, connections, services, support, envelope.
1.2 FORCE SENSITIVE SENSORS These sensors are integrated with the memory foam and locates in the nodes of secondary framestructure. They activate the associated actuators in the facade structure and the panels open according to the pressure made.
1.3 CONDUCTIVE TEXTILE This conductive thread is added to the mesh around the foam. It is used to connect the sensors to the output devices
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1:100 DETAIL SECTION MODEL OF ONE OF THE CELLS OF THE POD (INTERIOR + SKIN)
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1:50 LONG-SECTION THROUGH POD FLOATING ABOVE THE BASIN
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It’s the same from all angles. “What is it?” It’s not static. “Is it moving?” A bubble. “Can I go inside?” Now. Go. “Will you know when I want to leave?” It was like a hug “Let me go! “ It’s cozy inside. “Mom, why is it moving?” I can see myself. “But, I want to stay!” You can. “It’s you. It’s us”
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WE CAN TAKE IT OUT TO SEA [short-film] january 2019
The choice of taking a big group of architecture students from Bristol to Porto is a sign of how much this city in the north of Portugal has to offer in terms of its intricate history and architecture. Adding to this, there is a number of other little delicate ‘ingredients’ that have been making this place one of the preferred destinations in Europe. To adapt to this rapid change, the city’s fabric has to adapt in order to be able to accommodate the new visitors. This video is a visual exploration of the elements in the city that manifest that change – a process of renovation marked by façades covered with scaffolding, cranes in the sky and empty interiors of the buildings, with the constant noise of construction.
SKETCHING AND WRITING DOWN IDEAS FOR THE PORTO SHORT-FILM
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00:00 -00:19
intro
00:19 - 01:32
preludio conversation between me and Fred about an old boat docked in the river that we can take out to the sea
01:32 - 02:10
act I - faรงades the faรงades of buildings in construction and the dancing fabric
02:10 - 02:21
act II - cranes the yellow giants that lift up the materials of construction
02:21 - 02:43
act III - construction traces of the construction itself
03:10 - 03:33
to the sea and back to the sea it goes
03:33 - 04:10
a question is Porto going to be able to keep its rich identity as it moves through this irreversible phase in its history?
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THE IMAGE THAT COUNTS [research paper] october 2018 - january 2019
The aim of this dissertation was not deep research into the image itself, but to provide a focused understanding of how the image is being presented in architectural publications and ways in which it can instigate the thinking of architecture rather than offering solely a visual experience. It is a reflection on the apparent supremacy of the photo in contemporary representation, and in the role of the image when portraying architecture to the general public.
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pre-construction
sket nerated renders uter-ge p m o eal c er-r tec p y h h
nt
e
c
i
ce on
rp
awings pt dr
retat
io
construction of the building
THINKING ARCHITECTURE
designing the building
nica
post-construction
THINKING ARCHITECTURE
using the building
ches
l draw in
n
photo
gs
graph
PRESENTING ARCHITECTURE
publication about the project in architecture magazine
publication about the project in architecture magazine
the representation has an influence in people’s imagination about the building and architecture
the representation has an influence in people’s understanding of the building and architecture
starting point for the
THE IMAGE THAT COUNTS
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Shhh, silence celebration
[sound installation, dark room, slippers day] in collaboration with Merate Barakat, Beatriz Fernandes and Antonina Koshukhova
november 2018
‘Shhhh’ explored silence. However, silence did not want to be celebrated necessarily through the absence of sound, but to be carefully ‘heard’ and ‘seen’ instead. This project began with the curiosity of experiencing our faculty in a different way - a quieter way. Students and lecturers were invited to use slippers all day, a lecture room was transformed into a dark room, and a kinetic sound installation was created in one of the faculty’s corridors. ‘Shhhh’ questioned the limitations and possibilities of interiors spaces, specifically in our university. The alterations in the faculty’s ambience caused moments of intrigue and calmness that prompted the interaction with often-overlooked sounds and spaces of a place daily inhabited by us. Due to its temporal aspect and the ephemeral nature of silence, this intervention can afford to be installed in different places allowing different reverberations.
1. Sound installation The sound-installation used micro-controllers that actuated the movement of panels above the transitory users, which produced white-noise that cancelled out the surrounding sounds; and it enabled the testing of how a corridor, more than a transitory space, can also have a calming effect on people.
2. Slippers The use of slippers explored how an object usually associated with our home could change our experience of the workplace, and what sort of effect would it have on the people occupying that space. To minimise the noise and change our perception and ways of acting during that day, we had asked all of the staff and students to wear slippers for a day. At a physiological level, the rhythm of the slippers users slowed down.
3. Dark Room The dark room, set up using re-usable black cloth, created a space that focused on the sound and visual composition and revealed how an ordinary student room can become a space for pure reflection and restoration.
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Permesso!
[research project at Venice Architecture Bienalle 2018] july 2018
Even if you don’t speak Italian, when you hear “permesso, permesso!” in the crowded streets of Venice, you know what you have to do: leave where you are and lean against the wall to let the person behind you pass. On the streets of Venice, permesso is someone’s request for space: a space which gets smaller and smaller each day, due to the high increase of the human traffic in the narrow streets. Permesso may also suggest having a wish or having permission to do something, to allow something to happen or allow someone to do something. Permesso is a testament of how we relate with something external to us. In Venice, the most practical and visible example of permesso is the way people relate with the streets, arguably the closest that you can get to Freespace in this city.
Permesso to Enter,
Permesso to Look,
Permesso to Use, During my 4 weeks in Venice, whilst in the search for examples of different Permessos, I noticed how in spite of the streets giving the same permission to everyone, often children were the only ones to recognise whatever the street permited to happen, while others often recognised it as simply a transitional space. Five different types of Permesso were identified:
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Permesso to Seat
and Permesso to Leave.
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a bin at the same level [a recycling bin for our kitchen] in collaboration my dad
june 2018
This project is an experiment on the incorporation of bins in a more holistic design of our kitchens. Since we build our house in 2010, every-time I used the bin in our kitchen I thought how unpractical it was. ‘A bin at the same level’ has its start with the questioning of why is a bin just an add-on element in our kitchens, instead of being an element which is considered since we first start thinking and designing our kitchens of its location and ergonomics. This question gains even more relevance when we look to a bin as a testament of our waste. Perhaps, this can become an opportunity to explore ways we can become more aware of what we are consuming and throwing away.
“But it’s just a bin!” When the challenge was taken, the design-solution was pretty straightforward - to level the bin with the kitchen counter. This way it would make it easier to move things to the bin without having to move stuff around. The bin was designed in one day, and built the day after with a leftover plank of MDF. The idea is to take this idea further by thinking of different ways in which bins can be better designed for the next generations of kitchens.
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Ten Houses in Bridgwater [social-housing for third-agers ] november 2017 - february 2018
Third-agers are a new demographic of people, aged 65 and over, that has been increasing over the last few years. These are people that retired recently but still want to have active and energetic lives in their community. The issue is that there are not many places that meet their needs and the care house is usually the anticipated solution to their situation. This project explores the desires and aspirations of ‘third agers’ and questions traditional ideas of live/work/play, such as accessibility, loneliness, downscaling, childcare, travelling and communal living.
2 3a
5 4
3
5 1 3
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1. the canteen Shared cooking area and eating space, that overlooks and opens to the public courtyard
2. communal garden A small terrace to grow veggies for the communal meals.
3 . private courtyards A small terrace to grow veggies for the communal meals.
4. reed bed sewage system A small terrace to grow veggies for the communal meals.
5. north directed roof-openings A small terrace to grow veggies for the communal meals.
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These Ten Houses are drawn from the peculiar physiognomy of the existing surrounding retaining wall - it adopts the constrains of the site as hints to outline the different nooks and spaces. This scheme is based on a layered system of public, semi-public and private courtyards as subtle thresholds for the neighbourhood.
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1:100 GROUND FLOOR PLAN OF THE NEIGHBOURHOOD
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An attempt to re-use cooking water Since cooking and communal meals was something that this project wanted to foster in this community, mainly through the design of the kitchens, it was important to consider the water usage whilst cooking. As a solution, an incorporated system to treat to water was designed. It consists of a known method that uses reed beds, an aquatic plant based systems that allows bacteria, fungi and algae to digest the sewage to clean the water from the kitchens. Through the pipes, the water is conducted through two compartments where the roots filter the water. To complement this idea, a circular bench above the water compartment was designed, hidden by the grown plants.
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1:20 DETAIL SECTION THROUGH KITCHEN AND COURTYARD 1. Foundation 2. Hardcore 3. Damp proof membrane 4. Rigid Insulation (170mm) 5. PVC pipe for water supply (20mm) 6. Concrete floor slab 7. DPC 8. Cavity Tray 9. Gravel 10. Inlet pipe 11. Synthethic liner 12. Collection gallery 13. Low profile drainage channel 14. Water level 15. Bridgwater Brick 16. Hardwood timber beam (215x100mm)
8 7 6 5 4 3 2 1
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Studies for the house
The house follows a sequence of spaces: from a more communal and shared area: a space to cook, eat and receive the neighbours; this space starts outside the walls of the house, in the entrance. And secondly, a more individual and private area: a space to rest, to read, to work. The entrance of the house is a space of ambiguity between the house and the courtyard: “a gently seat at the entrance threshold ‘holds’ you and welcomes you.” Both these areas of the house have a direct connection with the exterior, allowing ventilation and direct and indirect sunlight - the first one being the shared courtyard, visually connected by the kitchen; and the second one, a small open area on the back of the house – an extension of the individual space. The bathroom acts as the central device of the house. Due to its importance considering who is going to live there, it becomes an element that is not hidden away or stepped back from the living area – it assumes its function with pride and makes it presence notable.
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1: 50 EXPLODED AXONOMETRIC OF HOUSE ENTRANCE (AND CURVED WALL)
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Parhelia
[a thought on sustainable modular housing ] may 2017
Today, sustainable energy must become more than just an extension to our lifestyle; it must become an integral part of it. While renewable energy production translates into fewer GHG emissions, the occupants themselves must become active members of these sustainable solutions to truly make a difference. A regenerative lifestyle should rely on positively educating the population: such can be done via community building activities. A place with support and resources to aid transition to a better life. This projects is a take on these ideas.
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I used to throw it away [sculpture] february 2018
During my three years living in Bristol, my house was a constant scenario for experimental sculptures and installations. ‘I used to throw it away’ was one of the experiments, in which material found in the toilet was used for the creation of a few pieces.
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Reference letter for Hugo Lopes 18 July 2019
The following letter of recommendation has been produced as an academic reference for Hugo Lopes in conjunction with his studies at UWE Bristol on the BSc Architecture Course between 2016-2019. My experience of working with Hugo started in his final year design studio at UWE Bristol where I am studio tutor. My overall impression of Hugo was a student who had a large capacity for design thinking and an ambition to really explore the design process through research and careful iterations of his project. The portfolio of work that he produced entitled ‘Long Bristol’ explored how ideas might be captured and stored within a subterranean archive on the edge of Bristol’s floating harbour. The project balanced carefully the fragility of ideas that might come into the archive and the complexity of the historic site. The final drawings which are stunning in themselves have multiple iterations behind them which draw from mediums beyond those traditionally associated with architecture including poetry, film and interviews with significant characters such as Bristol’s Harbourmaster. On top of his outstanding design skills Hugo was a positive character within the design studio working well with his peers and contributing significantly to the studio as a whole. Please do not hesitate to contact me if more information is required. Regards Matthew Hynam
Matthew Hynam Architect and Lecturer BSc Architecture year 3 tutor UWE Bristol Contact email: matthew2.hynam@uwe.ac.uk Profile link: https://people.uwe.ac.uk/Person/Matthew2Hynam
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h.monteirolopes@gmail.com