Hugo Oliveira by Hugo Oliveira

CV Hugo Oliveira (Arlington, VA. EUA. 1984) Nacionalidades Americano Português Educação 2007-2009 2003-2007

Mestrado em Arquitectura e Urbanismo ISCTE-IUL Departamento de Arquitectura e Urbanismo Bacharelato em Arquitectura ISCTE-IUL Departamento de Arquitectura e Urbanismo

Experiência Profissional (Arquitectura) 2013-2014 C-Lab (Nova Iorque) Investigador 2010-2012 Van Belle Medina (Antuérpia) Atelier dos Remédios (Lisboa) Atelier Domitianus (Lisboa) Arquitecto 2010 Adjaye Associates (Londres) Arquitecto Estagiário Experiência Profissional (Eventos) 2002-2010 Unique MJ Eventos Assistente (2002-2007) Sócio-Gerente (2007-2010) [eventos para: Continental, SAP, Pfeizer, Allianz, SKF, etc.] Idiomas Português (língua-mãe) Inglês (fluente) Espanhol (intermédio) Competências Informáticas Adobe Illustrator, Adobe Indesign, Adobe Photoshop, Adobe Lightroom, Microsoft Office Suite, AutoCAD, Revit, ArchiCAD, Vectorworks, 3D StudioMAX.

Prémios e Selecções Exposição Académica ISCTE-IUL - Melhores Projectos de 2006-2007 Workshop Ecopolis: Sustainable and Design Principles (Florença, 2008) Formação Adicional Nov/2012 Workshop em “Programação e Produção de Exposições” Restart | Instituto das Artes, Creatividade e Novas Tecnologias Dissertação Académica Transitoriedade Residencial Contemporânea - Especificidades nas suas Apropriações Domésticas e Urbanas. Orientadores: Paulo Tormenta Pinto (Arquitectura), Pedro Costa (Economia) e Pedro Prista (Antropologia). Lisboa, 2009 Entrevistas com Álvaro Siza Vieira, Gonçalo Byrne, António Câmara (YDreams), José Adelino Maltez, David Adjaye, Alain de Botton, Gonçalo Cadilhe, Kalaf (Buraka Som Sistema), Fernando Guerra, Tó Romano, José Cabral (O Alfaiate Lisboeta), Alexandre Castro Caldas, Márcio Kogan, Christophe Laudamiel, Carlos Huber, Tony Fretton, Jonathan Sergison, Pedro Botelho, Tatiana Bilbao, João Prates Ruivo (OMA), Alberto Kalach, Josep Lluís Mateo, E-Studio, Embaixada Arquitectos Artigos requisitados a Robert Venturi, Carlos Ferrater, Sou Fujimoto, Alberto Campo Baeza, Eduardo Arroyo, Pedro Bandeira, Nuno Brandão Costa, Manuel Tainha, Ana Vaz Milheiro, Paulo Tormenta Pinto, José Luís Saldanha, E-Studio Artigos escritos para Jornal dos Arquitectos, Archdaily, Revista Umbigo, Vitruvius, NAU-ISCTE Eventos Passados Exposição Académica para o ISCTE-IUL (Lisboa, 2007) Conferência Embaixada Arquitectos (Lisbon, 2008) Abertura do Ano Lectivo no ISCTE-IUL | “Caixas Negras” - Conferências, Exposição, Workshop e Publicação Especial (Lisboa, 2009) Exposição “Output” de David Adjaye (Tóquio, 2010) Exposição “Adaptation Lab” do C-Lab (Londres. 2012) Projectos Editoriais e Expositivos em Curso/Cancelados Exposição “Cartas” com Sou Fujimoto e Alberto Campo Baeza Livro “Sunday Morning Papers” com Mark Pimlott, Jonathan Sergison, David Adjaye, Ferruccio Izzo, Stephen Bates, Juan Salgado, Jonathan Woolf, Ros Diamond, entre outros (conceito e edição) Revista “Passagens” #1 e #2 (edição) Documentário com Valerio Olgiati (2012-2014) Projectos de Investigação “Pipes” para a 14ª Exposição Internacional de Arquitectura da Bienal de Veneza (C-Lab, Nova Iorque, 2013-2014) “Design for Aging Communities in Japan” para a Hulic e Columbia University (C-Lab, Nova Iorque, 2013-2014)

Caixas Negras Abertura do Ano Lectivo 2009-2010 ISCTE-IUL (Lisboa, Setembro 2009)

9 Ensaios, 8 Conferências, 1 Exposição, 1 Workshop com Alunos e 30 Docentes Responsabilidades Conceito Produção Tradução Edição Gráfica Edição Audiovisual Convidados Kaputt, MOOV, Atelier Data, Plano B, BB Arquitectos, E-Studio, Embaixada e SousaSantos

Exposição Output de David Adjaye (Tóquio, Julho-Setembro 2010) Concepção Adjaye Associates Responsabilidades Assistência a contratos logísticos Assistência à organização espacial da exposição Edição gráfica dos desenhos técnicos presentes no livro dedicado à exposição Edição dos suportes gráficos presentes na exposição

para mais informações: http://www.toto.co.jp/gallerma/ex100708/index_e.htm

NAU-ISCTE Newsletters (Novembro 2007-Fevereiro 2010) Responsabilidades Conceito Edição Edição Gráfica Traduções (Português, Inglês, Espanhol) Entrevistas Requisição de Artigos Convidados Robert Venturi, Manuel Tainha, Eduardo Arroyo, Pedro Bandeira, Nuno Brandão Costa, Ana Vaz Milheiro, Paulo Tormenta Pinto, José Luís Saldanha, EStudio, Carlos Ferrater, Kaputt, MOOV, Atelier Data, Plano B, BB Arquitectos, Sousa Santos, Embaixada (artigos) Tony Fretton, Jonathan Sergison, David Adjaye, Fernando Guerra, Josep Luís Mateo, Embaixada Arquitectos, E-Studio, João Prates Ruivo [OMA] (entrevistas)

para mais informação: http://dau.iscte.pt/index.php?option=com_content&view=article&id=60&Itemid=100

Revista Passagens (Março 2013)

Direcção Paulo Tormenta Pinto (Director) Ana Vaz Milheiro e José Luís Saldanha (Directores Adjuntos) Responsabilidades Edição Editora Caleidoscópio [Lisboa, Março 2013 | 252 páginas (cores)] Convidados Rogério Vieira de Almeida, Pedro Costa, Vítor Durão, Ana Vaz Milheiro, Miguel Coutinho, José Luís Saldanha, Teresa Marat-Mendes, Inês d’Orey, Sebastiano Raimondo, Ricardo Carreiro, José Maria Assis, Pedro Reis, Leonel Fadigas, Pedro Costa, José António Bandeirinha, Tiago Torres Campos, Rita Cruz Dourado, Filipa Fiúza, António Baptista Coelho, António Baptista Coelho, Michel Toussaint, Paulo Martins Barata, Raúl Hestnes Ferreira, Alberto Reaes Pinto, Tiago Mota Saraiva, Raúl Hestnes Ferreira, Bruno Macedo Ferreira, Luís Vassalo Rosa.

para mais informação: http://bit.ly/1aXQcwW

Exposição Adaptation Lab (Londres, 19-22 Novembro 2013) Concepção C-Lab + Architectural Foundation (Londres) Responsabilidades Concepção Curadoria (escolha dos conteúdos e convidados) Organização espacial da exposição Edição gráfica da publicação/suportes gráficos presentes na exposição Convidados Rick Robinson (IBM - Executive Architect for Smarter Cities) Lean Doody (ARUP - Director do programa Smart Cities) Simon Allford (Arquitecto responsável pelo novo edifício da Goolge - Londres) Liam Young (Fundador de Tomorrow’s Thoughts Today) Jürgen Mayer H. (Arquitecto) Phillipe Rahm (Arquitecto) Section

Element House MOS

New Mexico, 2013

Element House, a small modular house in the New Mexico desert commissioned by the Museum of Outdoor Art, is entirely off the grid. Instead of using mechanical heating and cooling, the house regulates indoor temperature through passive ventilation. A system of porches takes in fresh air, while solar chimneys draw air through the house and exhaust it through the roof.

From top: The Element House uses a system of porches and solar chimneys to draw air through the interior; a section perspective highlights the system; the house’s site in the New Mexico high desert meant that it had to accomodate large temperature swings and be largely self-sufficient; the interior under construction, showing a solar chimney and porch. All images courtesy MOS.

Jeffrey Inaba: It’s fascinating that because there are several chimneys rather than just one, and they are distributed across the house, they appear to be part of a system at work in the space. I like that the house adopts the figure that historically represents the symbolic center of the house and its discrete climate, and through its repetition expresses a contemporary means of climate control. It incorporates an element that has always been part of architecture, but presents it in a new way, with a new sense of climatic performance. Michael Meredith: For Hilary and me, the chimney is one of the main problems to deal with. I think you could go through every house project and look at their chimneys and discover something really interesting. You can read almost every architect’s work through the problem of the chimney. Hilary Sample: Sustainability too frequently is a strategy of adding things, objects, to the architecture, when in this case a small project can be liberated from those technologies. By digging one’s heels further into architecture by exploring the elements within the field and what they contribute to the climatization of the building it is possible to refocus on architecture. In fact, if you look at architects like Frank Lloyd Wright or Kahn, the regulation of the interior environment always was an architectural concern–it wasn’t an afterthought, achieved through a separate technology. It’s not about adding ducts, boilers, and products, but rather making the enclosure itself the climatic system.

para mais informação:http://www.architecturefoundation.org.uk/programme/2013/adaptation-lab

Revista Volume #35: Is This Not a Pipe?

(Nova Iorque, Novembro 2013)

Editor/Editores Adjuntos Jeffrey Inaba (C-Lab), Rem Koolhaas, Mark Wigley e Ole Bouman. Responsabilidades Pesquisa Edição gráfica Revisão Concepção capa (propostas) Editora Archis [Amsterdão, Novembro 2013 | 160 páginas (cores)] Convidados Mark Wigley, Bjarke Ingels, Christian Kerez, Andrès Jaque, MOS, Juan Herreros, Philippe Rahm, Kiel Moe, David Gissen, An Te Lui, Phil Bernstein, Filip Tejchman, John Hejduk and James Stamp, Matthias Schuler, Neil Denari, , Tom Wiscombe, Mahadev Raman, Florian Idenburg and Lothar Schwedt.

Photo: Joao Morgado

Volume 37

landscape, offers an image of an ascendant and colossal post-industrial atmosphere. This is a late-modern recalibration of earlier images of the protected and splintered architectural environment in New York City that stretch from the dome of Buckminster Fuller to the LOMEX proposal of Paul Rudolph. Where those spaces protected people from the particular nuisances of an industrial city, the environment within these buildings produces both concepts and subjects of an emerging economy. Here at the World Financial Center the late-modern atmosphere becomes reified – literally given ideological and instrumental shape – within a specific, re-urbanizing post-industrial landscape. Physical maintenance, communications, and stability move through an atmosphere that enables trade and that becomes a monumental presence in Manhattan. Markets are spaces, systems of communication and technologies, but also spaces for the production of an atmosphere – and I mean that literally; the production of a particular type of urban socio-nature. The interior atmosphere of buildings is always both a representational and material artifact – in this case, of post-industrial economic labor and development. In considering these atmospheres, we might remove any lingering myths or sentiments about where socio-natural production is in our contemporary city. When we do this, I think we will have a better sense of whom and what we support with our urban productions of nature. The city, its environments, natures and atmospheres are always there to be reshaped in the most politicized and unnatural ways.

Saving Michelangelo C-Lab

Volume 37

of Graham and Marvin with concepts from literature on critical environmental interpretation (e.g. the writing of Peter Sloterdijk), we might also see the air-conditioned trading rooms within Merrill Lynch’s building as a form of ‘splintered atmosphere’. This splintered atmosphere offers financial workers an environment unhinged from the immediate city in ways that seem obvious; but this requires more critical reflection. We might further understand this splintered atmosphere and its critical dialogue with the original (and important) conditions of the site. The World Financial Center was built on a portion of a larger strip of land known as The Beach – a landfill that the conspiracy-minded Robert Fitch claimed ‘buried’ the working class industrial harbor under the soil excavated from the construction of The World Trade Center. This strange landscape became, among other things, a site appropriated by various urban political movements, arts organizations, and theater troupes. This was used as an impromptu beach, but also a site where demonstrations against nuclear arms were held as well as experimental forms of art and urban dance. Throughout the late-1970s attempts to develop the entirety of the beach stalled. By 1988, when the World Financial Center was complete, the remainder of The Beach to the north and south was considered a veritable wasteland. To the south, where it remained unsodded, it produced sandstorms that swept across the blocks of lower Manhattan much to the torment of people who recently moved into this area or who worked at the World Financial Center. The interior posing next toCenter a model rose of Crown Hall, of the Mies World Financial without ventilation stacks in the main space. above and against this landscape, and if it offered an environment that supported trade, it also offered a more symbolic counter-environment to this place. The Beach presented a uniquely late-modern form of atmospheric pestilence – the literal atmospheric productions of a prime yet completely undeveloped site. In contrast, the World Financial Center contained an atmosphere of pure capital productivity. Finally, standing outside, we should consider one last aspect of the atmosphere of trade: the tops of the World Financial buildings – the iconic pyramid, dome, and ziggurat. For some, the tops illustrated rapprochements between postmodern representational legibility and modernist corporate formal abstraction. For Mario Gandelsonas (invited by Pelli to reflect on this project for his monograph), the tops were a provisional system of representation – a momentary and historicist cap to contain the potentially infinite and ‘colossal’ space of the Market symbolized by these buildings (an idea reiterated in recent analyses of postmodern architecture by Reinhold Martin). But as powerful as these tops are as historical symbols, I think it’s important to note that these tops also house some of the largest air-conditioning chillers in Manhattan. The ziggurat of the Merrill Lynch building sits above a room that briefly contained one of the largest A/C plants on a corporate building in Manhattan. We might see how this monumental chiller housing, in tandem with the skin of glass that emerges from its more traditionalist base, and set against the surrounding 13

Volume 37

The Museum of Modern Art/Scala, Florence

Volume 37

Mies van der Rohe’s S.R. Crown Hall (1950 – 1956) is by all accounts a realized expression of his idea of universal space. But rather than conceal the building system elements, in his first mechanically ventilated clear span structure, he located two large full-height shafts at the building’s center, introducing the only architectural elements into an otherwise unobstructed interior. One might speculate that this was a forfeit of control to the functional needs of the building on the part of the architect. But we are talking about Mies here after all; someone who thought carefully about every detail. As contradictory to the spirit of universal space as it may appear to be, could the volumes that contain the mechanical risers have been intended as part of the design – a deliberate attempt to make a statement about the relationship between architectural form and forced air? In the design of Crown Hall, Mies decided against the post-andbeam system proposed in the IIT Campus Master Plan, opting instead for a clear-span structure of exposed steel girders supported by perimeter columns. Suspended from the structure is only the thin horizontal roof deck; beneath it, the 220-foot long by 120-foot wide by 18-foot tall interior is devoid of nearly all architectural features. Instead of there being columns and dividing walls, there is almost nothing. The system that cools the ground floor space maintains the open, expansive feel of the interior. The simple system draws outside air from points on the roof. And all of the supply and return ducts are located in the roof’s drop ceiling. In theory, this meant that the mechanical system could be entirely housed above the space, enabling the interior to extend without the presence of vertical elements as far as the structural technology would allow. Using a fresh air circulation system also eliminated the need for large machinery to mechanically cool the air, freeing up weight on the roof that would limit the structure’s span. Elements that are now regarded as part of the passive toolkit supported the fresh air system. Operable vents along the base of the façade, frosted glass, and window blinds mitigated interior heat gain. Trees surrounding the south, east, and west sides of the building further protected against solar radiation. To reinforce the visual effect of an uncompromised horizontal space, a radiant floor was installed for heating, thereby doing away with bulky radiators having to be placed on the floor. The photograph of the Crown Hall model with Mies famously posing behind it, depicts just how magnificently free the space would have been were it not for the mechanical system that was actually built. Though this system was able to service the main space of the building, additional mechanical aid was needed for the basement level. To service the lower level workshop, the two floor-to-ceiling mechanical airways

were placed on the main level. This path, which was separate from the main floor’s system, supplied fresh air from the rooftop penthouse down into the lower level while ventilating the basement air upward and outside. There are no drawings to suggest that other mechanical options were thoroughly explored, such as ventilating the air along the basement’s perimeter walls and thereby avoiding the need for vertical connections to the roof. Even so, it would seem that Mies approached the technological limit of what was possible for controlling the air quality of both levels of the interior, and what was possible for constructing a building with an open, unobstructed interior. A series of drawings reveal that the treatment and placement of the shafts were well studied during the design process. Perspective sketches include options for different finish materials – concrete, plaster, asbestos, planks, plywood, glass, metal, marble. One floor plan indicates a wall-like shaft positioned in the east-west direction. A subsequent floor plan has the mechanics split into The Exhibitionist displays itsiteration, mechanical hardware, two north-south oriented walls.boldly In another the broadcasting the building’s identity. Completed in 2013, shafts are arranged along the back façade. Apparently Eduardo Souto de Moura’s Cultural Center for Viano do saved from the waste bin Portugal, of obscurity, the crumpled floorupper Castelo, is a three-story building whose wallshere are covered in aluminum pipeslayout. and building services. plan sketch pictured shows the final They Located beside the Lima River, are reduced in size so that their prothe design references the industrial portions are neither of a wall look oflike thethat Gil Eannes Hospital nearby. The locanor column butShip, of adocked distinct figuration of the mechanical systems tive proportion of their own. They are on the exterior upper areas of the placed two-thirds of allows the for way backuninbuilding an open, and 360-degree from the main terrupted entry interior and centered transparency at street level. along building’s Eduardo principle axis. Souto de Moura, In all of the sketches thatdoconCultural Center in Viana Castelo, Completed 2013 template the location of the monoliths, they remain placed at the highly visible center of the building, for all to see, as if their presence is to suggest the necessity of mechanical systems in the modern interior. Rather than attempt to hide the vent stacks and foreground the pure, unadulterated form of the design, maybe they were meant to be seen and understood as a necessary, irreducible part of the architecture. Crown Hall might not just be an example of universal space, but also a demonstration of the architect’s efforts to reconcile his vision of continuous open space with the technology that makes that space inhabitable. That is to say, the architecture of universal space is unthinkable without modern climate control.

Volume 37

C-Lab

Volume 37

475,200 ft3 of Almost Nothing

The steel structure of Crown Hall during construction.

para mais informação: http://archis.org/publications/volume-37-is-this-not-a-pipe

Exposição Fundamentals para a Bienal de Veneza

(Veneza, a realizar: 7 Junho a 23 de Novembro 2014) Aproveitando parte dos conteúdos sobre sistemas mecânicos aplicados na arquitectura, e que foram apresentados na revista Volume #37: Is This Not a Pipe? o C-Lab foi convidado por Rem Koolhaas para apresentar uma proposta sobre o tema “Pipes”, na 14ª Exposição Internacional de Arquitectura da Bienal de Veneza 2014. Curador Rem Koolhaas Responsabilidades Investigação sobre a temática Concepção da apresentação intercalar (para o curador, em Dezembro 2013) Execução da apresentação intercalar (versão impressa e digital) Revisão

PIPES para mais informação: http://www.labiennale.org/en/architecture/news/25-01.html

“Motivado por uma conferência de Emílio Tuñon em Buenos Aires, onde o arquitecto espanhol falava do conceito de Caixas Negras, enunciado por Bruno Latour para explicar a sua obra, um dos nossos alunos, o Hugo Oliveira, lançou um repto tanto ao interior da nossa escola como ao exterior dela própria, para que se reflectisse e aprofundasse esta sugestão de Tuñon.” Paulo Tormenta Pinto, (Director do Departamento de Arquitectura 2007-2009, ISCTE-IUL)

“A ideia para o evento que me propõe é muito interessante e gostaria de colaborar nele.” Emilio Tuñón (Sócio, Mansilla + Tuñón)

“O Hugo demonstrou ser trabalhador, de confiança e disposto a aceitar responsabilidades. Ficámos muito satisfeitos com o seu contributo e desejamos -lhe o melhor nos seus futuros projectos.” Lucy Tilley (Directora, Adjaye Associates)

“Obrigado por ter preparado as perguntas tão cuidadosamente. Foi uma conversa muito agradável.” Jonathan Sergison (Sócio, Sergison & Bates)

“Penso que na tua dissertação encontras um nicho onde tu consegues antecipar uma mudança na sociedade e isso é uma situação fantástica.” Tó Romano (Arquitecto e Empresário de Moda)

“As imagens estão muito boas e a dissertação muito interessante. Parabéns pela ideia e pela concretização.” Fernando Guerra (Fotógrafo, FG+SG)

“Foi muito evidente, desde o primeiro encontro que tivemos com o candidato, a enorme capacidade de síntese e explícita formulação de ideias assim como espírito crítico e excelente capacidade na organização e estruturação de planos de trabalho com objetivos claramente definidos.” Manuel Henriques (Director Executivo, Trienal de Arquitectura de Lisboa)

Contactos Hugo Oliveira hugooli@gmail.com (+351) 918 694 008

h u g o â&#x20AC;&#x2122;s p e e p b o x hugopeepbox.wordpress.com