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JOÃO BRÁS NOGUEIRA FILIPE PORTFOLIO
2007 - 2011
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CV
Profile Name : João Brás Nogueira Filipe E-mail: joao.filipe@netcabo.pt http://www.behance.net/JoaoBrasFil Born on 28 October 1988 Native from Portugal, Lisbon.
Academic Qualifications 2011 2010
Erasmus Scholarship, 2nd year of Master at S.A.B.K. Stuttgart Staatliche Akademie der Bildenden Künst, Stuttgart, Germany
2010 2009
Master Architecture 1st year at Universidade Lusíada de Lisboa Portugal
2006 2009
Graduation in Architecture at Universidade Lusíada de Lisboa Portugal Project Professors: Arch. Andreas Quednau and Arch. Kai Beck - 5th year Summer Semester Arch. Tobias Walisser, Martin Schroth and Marc Hoppermann - 5th year Winter Semester Arch. Mário Rino and Arch. Victor Neves - 4th year Arch. Jorge Sousa Santos - 3rd year Arch. Pedro Domingos, Arch. João Maria Trindade and Arch. Fernando Hipólito - 2nd year Arch. Rui Reis Alves and Arch. Ricardo Zúquete - 1st year
Formation 2010
Goethe Institut A2, German Maya Crash Course Grashopper Scripting Workshop by Marc Hoppermann (UNStudio)
2009
Biologic Architecture and Parametric Design with Rhino 3d and Grasshopper Course by Architect Mauro Couceiro
2008
Vectorworks Professional Training course by Techlimits Cinema 4D Professional Training course by Techlimits Sandbag shelter Technical workshop by Architect Filipe González
2007
Archicad Professional Training course by Flag British council C1, English
2006
Audio and Midi Producer by Mk2 Zone
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Publications , exhibitions and conferences 2011
Publication on the book “A Cidade” ( “The city”), Edition “Sebentas de Arquitectura” with 4th year urban planing
2011
Exhibition In SABK Stuttgart Sommerfest with 5th year projects
2011
Presentation about Car Park design with 3rd year project.
2009
Publication and exhibition for 2008/2009 Yearbook, Architecture best student works of Universidade Lusiada de Lisboa
Skills and competences Software
Languages
Rhinoceros 3D Grasshopper Maya AutoCAD Archicad Vectorworks Cinema4D SketchUp Adobe Photoshop Adobe Illustrator Adobe InDesign Adobe Premiere Adobe After Effects Final cut pro Ableton Live Office/Iwork
Portuguese - Native English - Advanced German - Basic (A1) French - Basic Spanish- Basic
Other Wood working, bending processes, moulding and press systems, working with epoxy resins and fibreglass.Wooden Longboard skates construction and surfboard repairs. Architecture design and model making .
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selected works page 5
Lisbon
page 7
2007 . 2008
theatre sea path contemporary art museum artist residences
page 29
2008 . 2009
temporary structure car park building apartments and hotel tower
page 47
2009 . 2010
city plan public housing art center and library
page 59
Berlin
2010 . 2011
IdeaStore Cultural center digital Incubator art center
page 73
other projects
2009 . 2011
Soundscapes sound pavillion Chaise longue Steel cable structure
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contemporary art museaum
artists residence for the actors (theatre) and the artists (museum workshops)
sea path
to connect the two valleys and the programme
theatre
Trafaria
2007 . 2008
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theater
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1 theatre interior entrance 2 opened model where we can see the theatre stage
3 terrace bar at a higher level, and the theatre lobby by the riverside
4 the three main plans
5 1:100 model perspective facing the river 6 1:100 model perspective facing the valley 7 steep slope and its inner subtracted spaces
A small fishing village, overlooking
the sea and the city of Lisbon, in a valley enclosed between a hill and some monumental tower grain silos. The design strategy of this theatre arises as an offset of an existing wall, giving a new limit to the village and permitting continuity between the old and the new. Assuming a strong connection to the topography, there are two main walking paths that design the theatre: One, at a lower level, following side by side the existing wall creating more introspective spaces. The other, more exposed, and at a higher level, relating to the landscape, the river, the sea, the grain silos, and the village of Trafaria.
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1 virtual study model 2 triangular square seen from the higher path 3 1:100 model perspective 4 section cutting the restaurant sky
opening and the bar terrace. We can also see the theatre lobby and the river level at the bottom
The lower path provides access to the theatre foyer by the riverside, facing north. The higher path enters the slope, finishing with a large terrace and a bar, looking west at the sea. A high concrete sky opening rises from the slope providing light and ventilation to a deep patio, part of the restaurant that connects to the terrace and bar. This iconic tube relates with the grain silos creating a symbolic relation. Both paths end up at the same point but at different levels. The bifurcation of the two paths, create a triangular square that connects the various spaces of the programme.
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contemporary art museum
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Studying the site we become aware of it’s strongest natural characteristic, a steep land cliff that meets Tagus River. These elements were the conceptual objects that influenced my design process. Building on this idea the main strategy was to try not to add a third element and develop the entire programme through the subtraction of large masses of land and water. The museum sets from the river. The artist residencies are subtracted from the land cliff.
Like a stranded boat, the museum arises as a continuation of the sea path, enclosing it. An independent and autonomous structure, advancing towards the river and turning back to the Atlantic Ocean, facing the silos at distance. This monumental structure tries to create an iconic sense of monumental scale;”the river as a border with the world”. Two massive concrete walls push the water away and give rise to a large empty and deep space that functions as the main museum hall. These walls deform, providing different spaces, for exhibitions, emphasizing the idea of water pressure on these “industrial boat caisson”. The main exterior walls are rounded in order to avoid the erosion caused by the river current flow.
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1 section through the museum main hall 2 plan through the tower pier, and museum access
3 section
4 virtual model perspective, where we can see the sea path and de silos
5 1:200 model perspective and the access to the building
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1 Cao Guo Quiang space 2 Chuck close space 3 Pipilotti Rist space 4 section cutting the museum through the permanent exhibition
5 1:100 sectioned model 6 museum main hall with a work by Richard Serra
From the lobby, we access to the permanent exhibitions. After a first encounter with the main space of the museum we begin to hear distant sounds, water sounds echoing from an inner room. At the bottom of the ramp we start seeing stray light entering through a sky opening where the light/water effects mixes with the video artist Pipilotti Rist, emphasizing a whole atmosphere that surrounds us. Reentering the main hall we start seeing part of a painting that guides us through the museum. It’s a portrait of a woman by Chuck Close. From this area (elevation -20) we start ascending the exhibition confronting other perspectives and leaving the river base behind.
We continue through a gallery where stands a photography installation by Beat Streuly. It explores the theme of multi- cultures and relates to Tagus river and what it represented in Portugal’s past history. Continuing upwards we finally confront with the sculpture of the artist Cai Guo-Qiang, a boat flying towards the Atlantic. In this room, from one side we can look back and see the entire museum that we have left behind (symbolising the past), and from the other side we can only see the ship flying to reach the sky(symbolizing the future), distorting his own room, away from the walls, creating two slopes that form a stair at the edge intersection. This last room is the culmination of the museum.
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Northeast of the accesses tower there is a little pier and a coffee lounge. Facing southwest we reach the museum lobby. There are two possibilities from the lobby (elevation -9.2) : Permanent art or temporary exhibitions. The permanent exhibitions are on the same level,and the temporary at -30. These two exhibitions intersect spatially but always at different levels, without confronting each other. One could say that natural light is shared. The back of temporary exhibitions corresponds to a central space of the main museum hall. From here you take a lift up either to exit the building and go back to Trafaria or continue the promenade till you reach the museum cafe. Going through the permanent exhibitions, we keep ascending to the surface, ending up on the sunny terrace facing northwest to an astonishing landscape of the Atlantic Ocean. There you can relax and have a coffee at sunset, or even buy something at the museum shop. Back to the tower you can catch the boat back to Lisbon, or just pass the walking bridge to land side.
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artists residence
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1 virtual model, top to bottom perspective 2 theatre actors residence 3 artists residences lobby, facing the river 4 section through the residences 5 lobby plan and the connection to the sea path
A solid space carved out of the mountain, two wide openings that intercept themselves. One is vertical where south sun light enters, and the other is horizontal, overlooking the river. The residences are placed surrounding this light tunnels. The space resulting from the intersection of the two tunnels is the main lobby The vertical one, is for the actors providing them a direct relation to the skylight (unlike what happens in the theatre, their workplace, where the presence of the river is constant). For artists working at the museum it is the same but in reverse way. While during the day, they spend their time mostly at the patios with a vertical relation with the sky, in their rooms the horizontal relation with the river gets more importance.
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1 1:200 model, top to bottom perspective 2 actors residence, plans 3 artists residence plan 4 typologies 5 1:200, sectioned model
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Actores
Artistas plรกsticos
Cota 8,7
Teatro Artistas plรกsticos
Although the rooms are individual, each artist house is double with a shared balcony and bathroom. This balcony is where all the light and ventilation enters. The actors residence is developed into three main levels and each level is then divided into two others. The access is made through a core area where the elevators and stairs are. The houses are displayed so that the terrace meets the outside balcony of households above. As the we get higher the central emptiness area increases allowing the sun light to reach the bottom. Each house , is divided into two levels. The lower one corresponds to the area of food preparation extending outwards to the balcony. Upstairs is the bedroom and the bathroom
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temporary structure
with the purpose of covering the statue during it’s maintenance works
apartments and hotel tower car park building in front of a school facade
Saldanha
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2008 . 2009
temporary structure
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1 tensile scaffold platforms, for the maintenance works of the statue 2 top plan 3 sections 4 tensile fabric virtual model studies 5 1:100 final model 6 orthophotomap
A tensioned being who climbs the buildings, a mass that takes hold of the facades and streets, a body that is as inert as dynamic. More than just an installation it’s an urban object, an experience of a happening that takes hold of time and space. Designed with a city scale, creates an icon, recovering the lost importance in this avenue, once the main city entrance.
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1 photomontage 2 street level virtual model perspective 3 sectioned virtual model 4 scaffold platforms structure 5 1:100 model top perspective 6 photomontage form the avenue 7 street level ,1:100 model perspective
Through the limits of this giant fabric there is a steel cable that tightens and supports the whole structure. The shape is generated not only by the points at different heights to which the fabric is tied to the buildings, but also from the loft of the aluminium tubes at a lower level. These aluminium tubes support the tensile scaffold platforms, providing conditions for the statue maintenance works. The platforms are made of aluminium frames topped by a metallic grid. The screen is attached to the ground through metal fasteners fixed on temporary concrete blocks.
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car park building
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1 longitudinal section 2 diagram 3 plan 4 virtual model perspective 5 orthophotomap 6 helicoidal design concept evolution 7 structural concept virtual model
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A continuous surface, an infinite road where two interlaced ramps form one. The structural core opens to lower levels providing light and ventilation, this empty space is where the lift and the stairs are. The parking occurs along this sloping surface saving space, and providing circulations with a more fluid level of functionality. Between the parking space and the limit of the building there is a walking path for people. Between the school and the park there is a small courtyard that also functions as the centre of the new proposed walking path connecting the two streets.
The reinforced concrete structure is supported by the centre core keeping surrounding space free of structural elements. An arc along the bottom diagonal receives the loads of the structure. Being a continuous structure helps to become self-supporting.
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1 1:200 study model 2 virtual design process 3 street facade, and car stand 4 south facade 5 west facade where we enter the park trough the lower level
6 north facade
Part of the programme was also a car stand with a shop, and a place to exhibit the car of the week.
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tower. apartments and hotel
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Considering the extension of the programme, and the size of the block, it was opted to develop the project vertically, releasing area at the street level. An iconic thin element standing through a concrete bridge structure, providing a new public space to the city. Considering the topographic slope , a public square was made by levelling the lower height of the block. The tower rests on the south side of the triangle, increasing the distance to an old historic house that stands at the opposite corner of the block. The whole square is a garden that crosses the tower. Bellow the tower there are some restaurants and shopping galleries. On the side of the main avenue Avenida Fontes Pereira de Melo is the access to the underground car park. In order to avoid any kind of confrontation between cars and pedestrians, the sidewalk was deflected to the inside of the square.
The main design concept was to create a flexible modular system that adapts to a surrounding skin. This translucent skin that approaches and retreats from the building core defines interior and exterior public and private spaces.
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1 top plan 2 design concept, the relation between the skin and it’s core
3 apartment non rigid modules 4 “fusion� operation concept between the modules and the skin
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square south entrance car parking entrance tower lobby emergency stairs apartments boxmail structural columns
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1 apartment interior 2 diagram 3 street level plan 4 apartment plans example 5 virtual model sectioned perspective, 6 1:200 model
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2009 . 2010
A da Beja
city plan public housing
art center and library
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1 land art and conceptual investigation 2 A drawing by Lebbeus Woods that most influenced my design concept
3 study models evolution, from top to bottom 4 ortophotomap and model photomontage
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design concept and city plan
The proposed intervention in the village of A da Beja relies on the qualification of the existing river creating a public park as an urban axis. This new green “avenue�, would provide better relations between services, equipment, the new and the existing. Creating platforms as a volumetric diagram helped reading the body as a whole. Subsequent manipulation of topography and its relationship to the platform diagram started to develop the idea of a new topography over the existing. Exploring the form of a crater as a manipulatory module, developed the idea that the urban park could be designed by the sequence of public housing.
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The main design concept consists on a new topography over the existing one. Creating spaces, beneath, between and over it.
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Sections A, B, C and D. Walking up the valley
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bike paths main urban public axel 0
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green park
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market gardens
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water flows in the valley
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public housing The main goal was to create a sense of identity, in the future owners of the houses. Therefore, a large scale patio was made, where people could live in community, looking for each other, without losing their privacy. These patios could then be used for their own profits, with pleasure grounds, lakes or simply for leisure. The sloped terraces would collect water to a storage for future use. The patios were not strictly private, since there would be always a connection between two areas. It could be said they were a more private area of the main urban park path.
corte A
corte A corte A
corte B A
corte B corte B
t1 65 m2 incl. máx: 18
corte A t1 65 m2 incl. máx: 18 t1 65 m2 incl. máx: 18
t1 65 m2 incl. máx: 18 t2 80 m2 incl. máx: 9 t2 80 m2 incl. máx: 9 t2 80 m2 incl. máx: 9 m2 t2t28080m2 incl.máx: máx:9 9 incl. t2 80 m2 incl. máx: 9
corte B
t2 80 m2 incl. máx: 9 t2 80 m2 incl. máx: 9
corte B
corte C
corte C corte C
corte D corte C
corte D corte D
corte D
t1 65 m2 incl. máx: 1
t2 80 m2 incl. máx: 9 t2 80 m2 t3 125 m2 9 incl. máx: incl. máx: 16 t3 125 m2 incl. máx: 16 t3 125 m2 incl. máx: 16
t3 125 m2 incl. máx: 11
corte C
t3 125 m2 incl. máx: 16 t3 125 m2 incl. máx: 11 t3 125 m2 incl. máx: 11
t3 125 m2 incl. máx: 11
corte D
t3 125 m2 incl. máx: 16
t3 125 m2 incl. máx: 11
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1 south facade and the walking path crossing through the art centre 2 currently developing studies 3 north facade, and the open air theatre stage
4 top plan design concept, orthophotomap with model photomontage
5 general plan
6 design concept sketch 7 site
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art centre and library An abandoned quarry at the end of the site, was the main influence to the design concept. Therefore, the building is developed as a continuum of this sloped wall, closing the topographic “crater�. This giant, natural hole, will be used as an open-air theatre surrounded by the gardens. The art centre appears as the beginning of the urban park. There are two main accesses: one from the public path tunnel that intersects the building, the other from street level where you can park your car. 232 224 226
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Espaço para
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exposições perman
entes
1 Lobby plan, 6.2 m height
Arrumo 10
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2 public path plan, 4.5 m height 3 model plan
Recepção
4 services and library plan 8.5 m height 5 public path section, art centre front view 5.2
6 lobby and library section
Biblioteca 4.5
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Bar
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Esplanada
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Esplanada
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The public path crosses the art center closing it with the big “crater”, also used as an outdoor auditorium. The indoor auditorium can be acceded by the lobby but also straight from the public path, that works like a second lobby. The art center lobby is located in the center, and it grows at the half height from the path that connects the street level to the public path. In the south side, there is a cafe near this path, library and computer room. Turned to the public path green park, and open to the outside garden. In the north side we have the auditorium that is open to the “crater” and the exhibition rooms. Connected to the west side streets, there is a more technical program related to services and maintenance.
Esplanada 3
Bar 4.5
Vestiários 10
Biblioteca
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Zona Tic Depósito para Documentos Livros 50
Sala de Gestão funcionários 30 Arquivo 20
Serviço Admin 30
Área Técnica Exterior AVAC(descobe rta) 100
Gabinete Reunião 20
Zona Serviço 40
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5.2
Gabinete Reunião 20 Gabinete Reunião 20
Central Segurança 30
Depósito Obras de Arte 100 m2 8
Armazém Anexo Oficina 25
Zona de Cargas Descargas Coberta 50
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Area Técnica Auditório
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IdeaStore Berlin
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IDEA STORE – a new public building typology
summer rain
winter
typology
filter
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IDEA STORE – a new public building typology
transpiration IDEA STORE – a new public building typology
summer
winter
evaporation
wind water condensation
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shadow condensation
transpiration leaf drip
water condensation
evaporation
shadow water collection Infiltration
water condensation evaporation water condensation
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water condensation
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Sommer 2011 /// AdBK Stuttgart /// Klasse ÖRBS /// IDEA STORE /// Prof. Dipl.-Ing. MSc Andreas Quednau /// AM Dipl.-Ing. Kai Beck
Sommer 2011 /// AdBK Stuttgart /// Klasse ÖRBS /// IDEA STORE /// Prof. Dipl.-Ing. MSc Andreas Quednau /// AM Dipl.-Ing. Kai Beck
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spiration
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condensation surface roots infiltration evaporation
wind Cshadow
wind
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accessD - access wind
Sommer 2011 /// AdBK Stuttgart /// Klasse ÖRBS /// IDEA STORE /// Prof. Dipl.-Ing. MSc Andreas Quednau /// AM Dipl.-Ing. Kai Beck
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24hour public library The main question made was how can we redefine boundaries in order to offer a new public space typology, a 24 hour public library, the IdeaStore. What are the characteristics that define space? Light, sound ,wind... Material energies. How can we transpose all this qualities to a system making them space definers? Analysing these material energies on a tree was the concept that helped establishing these nonphysical boundaries to an architectural system . Boundaries became a distance , a transition a sequence of densities instead of a stiff, rigid wall. The site is the main street from Neukoln, South-East Berlin. Karl Marx Strasse is the axel of Neukoln. Known for it’s multiculturalism and it’s wide range of shops and commerce, this street is mainly surrounded by habitation buildings. These two different realities and systems intersect in a square where the IdeaStore is located. Therefore this square works as a transition space , a public space. The concept was to approach this transition idea and create a new cloud density that redefines the relation between spaces providing a building that can be used and lived as part of a public promenade.
IDEA STORE – a new public building typology IDEA STORE – a new public building typology
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IDEA IDEA STORE STORE –– aa new new public public building building typology typology roof
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IDEA STORE – a new public building typology
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kids library reading room mediathek Internet cafe
1 Tree qualities concept
seminar space
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3 1:50 models that represent the tree qualities
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library library kids kids library library
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reading reading room room
kitchen and staff
mediathek mediathek
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reading room mediathek seminar seminar space space
Internet cafe
gastronomie gastronomie seminar space access-foyer access-foyer
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infobox infobox2011 /// AdBK Stuttgart /// Klasse ÖRBS /// IDEA STORE /// Prof. Dipl.-Ing. MS Sommer
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Boundaries became a distance , a transition a sequence of densities instead of a stiff, rigid wall. 1
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1 Library interior looking the cafe and the lobby at a lower lever 2 Entrance 3 View from the square 4 Diagrams from program organization to modelling the empty spaces
5 Materials used
6 1:50 test model 5 east street view
Seminar Rooms
Library Mediathek
Library CyberCafe Foyer-pateo
Restaurant Entrance
Square Continuum
Library Access
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Wood “Lines”
Glass “Lines”
To generate the cloud and create the different space qualities analysed in the space program diagrams, one logic is created in the dialogue between two materials. The dialogue between wooden “lines” and glass “lines”. In one hand the wooden “ lines” close the space, making it darker and private and separating realities. In the other hand the glass “lines” let the light in, giving transparence and connecting spaces .
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Plan 9m Vista.x.Y
Spacy Stroke: 0.2 Color: 100
Stroke: 0.06 64 Color:100
Vista.Z: Black Color: 100 C
The program is organized around a center space, the lobby, working like a public patio/square where who passes can relate with all the other spaces and vice-versa. This patio works like a transition from the public square outside, but now in a smaller scale. The program is organized like an hierarchy of public to private spaces. After the lobby there is the cafe at an upper level and after the cafe the mediatheque and the library. Plansquare 5m The kids library opens to the side level and connects to the library vertically. It’s possible to cross the building trough an under path, and that’s where the restaurant is located. A
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Vista.Z: Plan 9m Black Vista.Z: Color: 100 Black Vista.Z:100 Color: Black Color: 100
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Plan 9m Vista.x.Y Spacy Stroke: 0.06 Stroke: 0.2 Vista.x.Y Spacy Color:100 100 Stroke: 0.06 Color: Stroke: 0.2 Vista.x.Y Spacy 100 Color:100 Color: Stroke: 0.06 Stroke: 0.2 Color:100 Color: 100
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Plan 9m
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foyer
Kids Library2
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SABK Stuttgart - Digitales Entwerfen Prof. Tobias Wallisser - K.A. Martin Schroth Digital Incubator Berlin - ws 2010-11 JoĂŁo Filipe
Mediathek
Digital Incubator Berlin Buroraume
Verwaltung
A
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Foyer
Math surfaces research /// João68 Brás Filipe
Math surfaces research /// João Brás Filipe
Section study model
Section study model
Helicoidal “sides relation�
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Digital art Center Helicoidal connection
Infinite Infinit Voids Voids The virtual and the future, will coexist Thethe virtual future, will coexist with realand andthe physical in different with the real and physical in different ways. The intersection between these ways. The intersection between these twoworlds worlds will will be spacial two bethe themain main spacial ideaofofthe theproject. project. Tomorrow spaces idea Tomorrow spaces tend to be a comtend to be a combination of worlds, bination of worlds, the future,the present, the virtual and thethe physical. the future,the present, virtual Thethe main concept The is to create space and physical. main aconcept where these contrasts are empathized. is Ato create a space where these space that can be experienced through aare continuum way, like inficontrasts empathized. Aan space nitecan pathbe where different realities coexthat experienced through a ist and collide at a certain point. continuum way, like an infinite path The virtual/future incubator is interpreteddifferent as a world of continuity where where realities coexist anda surface separates spaces collide atconnects a certainand point. The virtual/ and that at some point opens through future interpreted voids incubator connectingis different realtiesas . a world of continuity where a surface connects and separates spaces and that at some point opens through voids connecting different realties.
1 3 2
1 math surfaces study research 2 3D modelling test 3 3D printed test model
3D Printing model
3D Printing model
3D Printing model
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A space that can be experienced through a continuum way like an infinite path where different realities coexist and collide. Buroraume
Verwaltung
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SABK Stuttgart - Digitales Entwerfen Prof. Tobias Wallisser - K.A. Martin Schroth Digital Incubator Berlin - ws 2010-11 João Filipe
SABK Stuttgart - Digitales Entwerfen Prof. Tobias Wallisser - K.A. Martin Schroth Digital Incubator Berlin - ws 2010-11 João Filipe
Dauerausstellung
Mediathek
Konferenzraum
Werkstatten Ateliers
†
Plan _ 6.5 m
Buroraume
Verwaltung
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Foyer
“sides relation”
Temporare Austellung Helicoidal “sides relation”
Garderobe Technikraume
Konferenzraum
dal connection
† †
Plan _ 6.5 m
4 1
5
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Cafe/restaurant
6 A
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oids
Helicoidal connection
Entrance plan, 6.5 m ual and1 the future, will coexist e real and physical Infinit Voids in different 2 Section he intersection between these Concept diagrams rlds will3 be the main The virtual and spacial the future, will coexist the project. with the real and physical in different 4 Interior rooms and infinite paths diagram ow spaces tend be a comways. Theto intersection between these n of worlds, the future,the 5 two Street View worlds will be the main spacial , the virtual and the physical. of the project. 6 idea Relation between the two “dimensions” scheme in concept is to create space Plan _a 1m Tomorrow spaces tend to be a comhese contrasts empathized. binationare of worlds, the future,the e that can be experienced
Section A
71 SABK Stuttgart - Digitales Entwerfen Prof. Tobias Wallisser - K.A. Martin Schroth Digital Incubator Berlin - ws 2010-11 João Filipe
SABK Stuttgart - Digitales Entwerfen Prof. Tobias Wallisser - K.A. Martin Schroth Digital Incubator Berlin - ws 2010-11 João Filipe
Infinite worlds
/// João Brás Filipe
Infinite worlds
/// João Brás Filipe
/// Hypothese
The virtual and the future, will coexist with the real and physical in different ways. virtual and the future, will worlds coexist with the real The The intersection between these two and physical in different will be the main spacial idea ofways. the project. /// Hypothese
The intersection between these two worlds will be the main spacial idea of the project.
Sudanese’ Möbius band
Sudanese’ Möbius band
Virtual/Future
Virtual/Future
How can we overcome the gravity phenomenon? can we covers overcome AlthoughHow the helicoid the the gravity same discphenomenon? of horizontal space at many Although the helicoid covers the heights, they are connected in a same disc of horizontal space at many walkable way. heights, they are connected in a How can a continuous path evolve to This is precisely the way. quality which walkable a portalHow between worlds ? One can atwo continuous path evolve to rheotomicThis surfaces exploitthe . quality which is precisely portal between two worlds ? One surfaceathat in one hand separates rheotomic surfaces The helicoid surface we can useexploit the . surface that in one hand separates and in the other hand connects . There The helicoid surface we up can use the principle of superposition to build in the other hand connects . There are veryand experiences of the utilization principle superposition any arrangement ofof clockwise and to build up are very experiences of the utilization of these kind of surfaces but the real any arrangement of clockwise and of these kind of surfaces but the real anti-clockwise helicoids, and join them anti-clockwise helicoids, and join them problem is wheniswe transpose them to them to problem when we transpose smoothly smoothly into one continuous surface. into one continuous surface. real architecture. real architecture. Although the surface is continuous, Although the surface is continuous, To keep the the surface To parts keepof the parts of the surface onecannot often cannot one one often get fromget onefrom point to point to walkably connected, the of walkably connected, the movement movement of on the without surface without anotheranother on the surface going going the must contours must always continue the the contours always continue the upside-down somewhere in between. upside-down somewhere in between. flow. flow.
Physical/past Physical/past
Helicoidal “sides relation” Helicoidal “sides relation”
Helicoidal connection
Helicoidal connection
Infinit Voids The virtual and the future, will coexist Infinit Voids with the real and physical in different ways. The intersection between these
The virtualtwo andworlds the future, will coexist will be the main spacial with the real and in different idea of physical the project. ways. The Tomorrow intersectionspaces between these tend to be a combination of worlds, the future,the two worlds will be the main spacial idea of thepresent, project. the virtual and the physical. main concept to create a space TomorrowThe spaces tend to be aiscomwhere these contrasts are empathized. bination of worlds, the future,the A space that can be experienced present, the virtualaand the physical. through continuum way, like an infiThe main nite concept to create a spacerealities coexpathiswhere different where these contrasts areatempathized. ist and collide a certain point. Thecan virtual/future incubator is interA space that be experienced as a world of an continuity where a through apreted continuum way, like infisurface connects and separates spaces nite path where different realities coexand that at some point opens through ist and collide at a certain point. voids connecting different realties . The virtual/future incubator is interpreted as a world of continuity where a surface connects and separates spaces and that at some point opens through voids connecting different realties .
The urban approaching reflects a paths crossover logic which we can see in the plan. Considering the site is bounded by different streets, paths and views the main proposal was to create an open public square at the ground level that would receive people from all the sides, opening to the city and creating an iconic new urban centre. At this square is located the restaurant the cafe that are opened to the square at a lower level and as we walk up the entry to the building appears. In the street side there is also located the garage entry. In one hand the street side is more closed protecting the square from the noise and in the other hand at the other side the square widens itself extending its limits through space. By this it also gets an open air part where people can stop drink a cafe , talk and perhaps go into the building. The space organization was designed considering the relation between spaces, privacy and openings.
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Sound Scapes
Sound Sorce
Absortion
The main approaching was to analyse sound effects such as echo to obtain objective 74 information about the relation between space and form in order to understand and take This project started with an analysis advantage of sound effects in space.
of an existing building, from where
For the first create thing wasaanalysing for example wethis should new concept for echo. What causes echo? our modular pavilion. After Analysing To produce this phenomenon the space has to and studying the Phillips by respect some conditions. The mainPavilion idea we have to is that and soundXenaquis travels through Leconsider Corbusier the space most Amplification/Absortion of sound in space at more less 300 meter per second, and to echo important aspect understood was that occur the sound must bounce back at least half The sound second after thewas soundwritten source . for the space Considering this , we The knowrelation that the curve has and vice versa. between to be at leastperformance 150 meters( 75 from source acoustic andsound geometry and more 75 bouncing back). is fundamental to understand the Testing this information with grasshopper, changing the speakerof location in space we The can main objective this pavilion. take advantage of the analysis controlling experimental shape was madesound with effects in the pavilion. the idea of emphasizing spacial This would create a new and controlled sound Sound Sorce sound effects such as reverberation, atmosphere.
clarity, echo and sound travelling. The main aspects studied were the sound direction versus form reaction (concave Echo andparameter convex), reverberation and echo
Grasshopper Bounce Parameter development . Sound source, shape, bounce and distance. Grasshopper Bounce Parameter development . Sound source, shape, bounce and distance in philips pavillion,
Soundeffects Pavilion /// João Brás Filipe
ersa. were ace.” Amplification
Sound Sorce
Echo, reverb and delay. 3d Model Bounce Analyse
Poème noises, choir tone
r tape ut the eating effects,
Sound Sorce
Absortion
The main approaching was to analyse sound effects such as echo to obtain objective information about the relation between space and form in order to understand and take Philips Pavilionadvantage of sound effects in space.
3d Model Bounce Analyse
Le Corbusier, Xenakis and Varèse.
For this the first thing was analysing for example echo. What causes echo? To produce this phenomenon the space has to respect some conditions. The main idea we have to consider is that sound travels through space Amplification/Absortion of sound in space at more less 300 meter per second, and to echo occur the sound must bounce back at least half second after the sound source . Considering this , we know that the curve has to be at least 150 meters( 75 from sound source and more 75 bouncing back). Testing this information with grasshopper, changing the speaker location in space we can take advantage of the analysis controlling sound effects in the pavilion. This would create a new and controlled sound Sound Sorce atmosphere.
Echo parameter Photo of the interior of the pavilion where we can see the speakers displayed along the surfaces.
3d Model Bounce Analyse Grasshopper Bounce Parameter development . Sound source, shape, bounce and distance. Grasshopper Bounce Parameter development . Sound source, shape, bounce and distance in philips pavillion,
Grasshopper Bounce Parameter development . Sound source, shape, bounce and distance. Grasshopper Bounce Parameter development . Sound source, shape, bounce and distance in philips pavillion,
Influence of shape during the sound travel( 3 reflections)
Soundeffects Pavilion /// João Brás Filipe
Sound direction vs form reaction concave and convex
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Soundeffects Pavilion /// João Brás Filipe
Soundeffects Pavilion /// João Brás Filipe
Amplification
Definition and parameters
Sound Source
Soundeffects Pavilion /// João Brás Filipe
Sound Source
Absorption
Definition and parameters
d
r
Soundeffects Pavilion
C o n C a v e
d
Sound Source
r
/// João Brás Filipe Echo parameter
Second Second world world war war sound sound mirror mirror devices devices
From the Phillips pavilion analysisDefinition and parameters a concept of a modular system was created that consisted on giving shape to different parameters: 1-Distance between circle midpoints In order to arrange different kinds of surface and cone shapes. d 2-Circle Radius r The circle radius changes the cone shape in a way that “decides” de cone inner angle direction, and consequently its “sound form”. 3-Cone axel length Influences the difference between the sound crossing a hole or a tunnel. d 4-Cone Density Makes the difference between r a clear surface ( reflective) and a poured surface (absorbent). L 4
5
Distance between circle midpoints d
The distance between circle midpoints gives the 1 possibilitie to arranje different kinds of surface in a way that can be a changing variable. It can also change the configuration of the cone shape and its assembling cuts .
3
Circle Radius r
D
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the circle radius2changes the cone shape in a way that “decides” de cone inner angle direction, and consequently its sound reaction (sound mirror, amplification or absortion)
1 Pavilion analysis with different sound emission
parameters
Cone axel lenght L
length of sound the cone is other variable 2The Shape and analysis synthesis
that influence the sound reaction in space making the difference between the sound crossing a 3hole. Phillips by Corbusier and Xenaquis or thePavilion sound crossing a tunnel.
D 4The Other references cone density makes the difference between Cone Density
a clean surface ( reflective) and a poured surface
5(absorbent). Synthesis of the concept
5 Modular structure sketch conceptual model variations test
C o n v e rx
C o n C a v e
d
Distance be
The distance b possibilitie to a way that can It can also cha shape and its
Circle Radiu
Second world war sound mirror devices
the circle radi that “decides” consequently (sound mirror
Distance between circle midpoints d
Cone axel The distance between circle midpoints givele L The length o possibilitie to arranje different kinds of surfac influence the a way that can be a changing variable. the differenc hole.of orthe the soc It can also change the configuration shape and its assembling cuts .
d r
Cone Density
The cone den a clean surfac the circle radius changes the cone(absorbent). shape in a
Circle RadiusDr
that “decides” de cone inner angle direction, consequently its sound reaction (sound mirror, amplification or absortion) parameters
Distance betweenLcircle midpoints dCone axel lenght L
The The distance between circle midpoints gives thelength of the cone is other variable influence the sound reaction in space ma possibilitie to arranje different kinds of surface in the difference between the sound crossin a way that can be a changing variable. It can also change the configuration of the hole. cone or the sound crossing a tunnel. shape and its assembling cuts .
Cone Density D
Circle Radius r
The cone density makes the difference betw
a clean surface ( reflective) and a poured sur the circle radius changes D the cone shape in a way that “decides” de cone inner angle direction,(absorbent). and consequently its sound reaction (sound mirror, amplification or absortion) parameters
Cone axel lenght L
The length of the cone is other variable that influence the sound reaction in space making the difference between the sound crossing a hole. or the sound crossing a tunnel.
Cone Density D The cone density makes the difference between a clean surface ( reflective) and a poured surface (absorbent).
conceptual model variatio
Soundeffects Pavilion
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/// João Brás Filipe
Unfolding and assembling system
Soundeffects Pavilion /// João Brás Filipe
B C a
B
Soundeffects Pavilion /// João Brás Filipe
Parameters test model and a possible variation of spaces .
Parameters test model and a possible variation of spaces .
Assembling modules
/// João Brás Filipe
a
C
Unfolding
Cutting - Rolling - Assembling
Parameters test model and a possible variation of spaces .
B
B
The assembling process consists in the cutting ...the rolling of the cones and in assembling each to each other. After cutting, the cones are closed with a “knitted” edge. After this connect them through the different intersections.
Following the parameters proposed a system was created in order to give shape to the concept. The main objective was finding a simple way of connecting the cone shapes avoiding cutting throw the hole solid. Making isolated cuts in the surface possibilitates it to mantaing its natural flow avoiding problems when assembling the modules.
Soundeffects Pavilion
Unfolding and assembling system
Cutting - Rolling - Assembling
The assembling process consists in the cutting ...the rolling of the cones and in assembling each to each other. After cutting, the cones are closed with a “knitted” edge. After this connect them through the different intersections.
C
a
Modular morphology and assembling process
a
C Unfolding
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4 3
5
2 6
1 Test model 2 Pavilion section variations 3 Assembling and production 4 Assembling 3D detail 5 Interior view 6 Exterior view
The Parameters proposed before are variations that can be controlled in order to create different shapes and consequently sound reactions and effects. Following these modules it became possible to give shape to the concept. The main objective was finding a simple way of connecting the cone shapes avoiding cutting throw the hole solid. Making isolated cuts on the surface helps keeping it’s natural flow avoiding problems when assembling the modules. The assembling process consists in the cutting ...the rolling of the cones and in assembling each to each other. After cutting, the cones are closed with a “knitted” edge and connected through the different intersections.
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ltsirhC nairolF .gnI .lpiD BL kcaM nireveS xileF .seD .lpiD MA reuablztiL reteP .gnI .lpiD .forP
Chaise longue
ngiseD dnu rutketihcrA
ltsirhC nairolF .gnI .lpiD BL kcaM nireveS xileF .seD .lpiD MA reuablztiL reteP .gnI .lpiD .forP
ngiseD dnu rutketihcrA
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tektur Designund Design
Prof. Dipl. Ing. Prof.Peter Dipl.Litzlbauer Ing. Peter Litzlbauer AM Dipl. Des. AMFelix Dipl.Severin Des. Felix Mack Severin LB Dipl. Mack Ing. LBFlo Di
eugnol esiahC - tkejboleböM - tcejorP ranimeS
ledoM D3 ecaf ruS larutcurtS
epiliF sárB oãoJ
75> 15cm
75> 15cm
173 > 34.6 cm 173 > 34.6 cm 82 > 16.4 cm82 > 16.4 cm
nar - Möbelobjekt Project - Möbelobjekt - Chaise longue - Chaise longue
Builduing process Builduing process
João
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4 1 2
5
3
6
1 Process diagram. Design to production
ltsirhC nairolF .gnI .lpiD BL kcaM nireveS xileF .seD .lpiD MA reuablztiL reteP .gnI .lpiD .forP
ngiseD
2 Unroll of the surface 3 1:5 model front view 4 1:5 perspective view
ltsirhC nairolF .gnI .lpiD BL kcaM nireveS xileF .seD .lpiD MA reuablztiL reteP .gnI .lpiD .forP
5 1:5 model top view 6 1:5 view Litzlbauer AM Dipl. Des. Felix Severin Mack LB Dipl. Ing. Florian Christl Prof. Dipl.side Ing. Peter
A
From the beginning of this project my main goal was to work with mold and bending systems on plywood, in order to develop a surface that could work not only as the chair Eit self but also as structure. The biggest obstacle was bending plywood in 2 directions, a concave and at same time convex.
B
F
D Architektur und Design
Sections, top view and unrolled surface
eugnol esiahC - tkejboleböM -
evitcepsreP ledoM 5 : 1
epiliF sárB oãoJ
C
Prof. Dipl. Ing. Peter Litzlbauer AM Dipl. Des. Felix Severin Mack LB Dipl. Ing. Florian Christ
ltsirhC nairolF .gnI .lpiD BL kcaM nireveS xileF .seD .lpiD MA reuablztiL reteP .gnI .lpiD .forP
mc 561 epiliF sárB oãoJ
João Brás Filipe
snoisnemid eugnol esiahC laniF
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Prof. Dr.-Ing. Stephan Engelsmann // Klasse fĂźr Konstruktives Entwerfen - Seminar Seilstrukturen SS 2011
Cable structure Perspective
Prof. Dr.-Ing. Stephan Engelsmann // Klasse fĂźr Konstruktives Entwerfen - Seminar Seilstrukturen SS 2011
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Perspective
Top Plan
rm // JoĂŁo Filipe & Arne Wittenberg
Dr.-Ing. Stephan Engelsmann // Klasse fĂźr Konstruktives Entwerfen - Seminar Seilstrukturen SS 2011 uren SSProf. 2011
85 The goal of this project was to develop a structure that would overcome 30 m long and that could be repeated to eventually create a menbrane pavillion. The structure is defined by two main masts that receive the forces from the tensioned steel ropes. The ropes are connecting toRigid elements a concrete base, pulling and creating Steel ropes the tension keeping the structure working. This project was made together with Arne Wittenberg Ropes between Masts
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3 4
2 5
lstrukturen SS 2011
1 3d model perspective 2 Technical drawings
rfen - Seminar Seilstrukturen SS 2011model 3 1:20 concept
4 Physics model with forces ( arrows ) Rigid elements
5 Perspective of the structure as a module Steel ropes
Rigid elements Steel ropes
Rigid elements Steel ropes
Modular system with applied Membrane Rope distribution detail
Rigid elements Steel ropes
Rigid elements Steel ropes
Tension and compression directions
Tension and compression directions
Modular system perspective with Membrane applied
Tension and rm compression directions // JoĂŁo Filipe & Arne Wittenberg
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Joรฃo Brรกs Nogueira Filipe joao.filipe@netcabo.pt http://issuu.com/jbrasflip http://www.behance.net/JoaoBrasFil