João Delgado - Portfolio 2015-2020 by João Delgado

CURRICULUM VITAE

DESIGN

- House in Meco - Subverting Domesticity - New Classicism - A Campus by the Docks - Artem Conclusus - Nakagin Capsule Tower Model

RESEARCH - Shanghai K11 - Master Thesis

RECOMENDATION LETTER

10 16 20 26 32 38

42 44 48

---

CURRICULUM VITAE 5

PERSONAL INFORMATION

João Pedro Mesquita Delgado 02/1997 | Portugal +351915610506 joao.delgado.97@gmail.com Rua Manuel Ferreira, nº12, 1ºC, Linda-a-Velha, Oeiras

EDUCATION 2020/2021

M.A. Thesis: “Chinese Modernity Between Western Imperialism and Native Tradition: A Shanghai Case-Study” with Prof. Ana Tostões Instituto Superior Técnico | Grade: 19/20

2019/2020

Exchange Student Program in Shanghai, China Tongji University | College of Architecture and Urban Planning

2018 - 2021

Master’s Degree in Architecture Instituto Superior Técnico

2015-2018

Bachelor’s Degree in Studies of Architecture Instituto Superior Técnico

2012-2015

Highschool Graduation Escola Secundária Professor José Augusto Lucas

SKILLS Design Software Advanced

Autodesk AutoCAD

Good

Autodesk Revit | Rhinoceros 3D| VRay

Basic

Dialux

Editing Software

Adobe Photoshop | Adobe InDesign

Video Editing

Sony Vegas PRO

Technical

Drawing, Model Making, Digital Rendering, Digital Collage

LANGUAGES

Portuguese (native language) English - Cambridge CAE C1 Advanced Certificate Chinese - In Learning Process

COMPETITIONS 2021

Vinfast Global Showroom Design Competition 2021 with Tiago Ribeiro https://vinfastcompetition.com/en

Kaira Looro Architecture Competition Women’s House with Tiago Ribeiro Baghere Village, Senegal, March 2021 https://www.kairalooro.com/competition_womenshouse/en_index.html

2020

Young Architects Competition - Hill of the Arts with Clara Oliveira Turin, February-April 2020 https://www.youngarchitectscompetitions.com/

2019

Concurso Prémio Universidades Trienal de Lisboa with Manuel Baptista Trienal de Lisboa, Marvila, Lisbon, February-April 2019 https://www.trienaldelisboa.com/open-calls-pt/d/opencalls_t2019-universidades

2018

Resilient Homes Design Challenge with Clara Oliveira and Manuel Baptista Build Academy, Nepal, September - December 2018 https://buildacademy.com/resilienthomes/

AWARDS 2019

Finalist in Concurso Prémio Universidades Trienal de Lisboa

PUBLICATIONS 2021

“Hongqiao Sanatorium: Modern Movement Diaspora & Singular Modernity” in Docomomo 16th International Conference Proceedings by Docomomo

PROFESSIONAL EXPERIENCE 2018

Internship at Docomomo International Docomomo International Headquarters in Instituto Superior Técnico, Lisbon, June-July 2018

2019

Architectural Tour Guide at Allkind Tours Lisbon, June-August 2019

2020/2021

Internship at HAJE Arquitectos Rua Bernardo Lima 35, 4B 1150-074 Lisbon, September 2020 - January 2021 7

DESIGN 9

HOUSE IN MECO “Were it not for shadows, there would be no beauty” . Junichiro Tanizaki The southern town of Meco and its neighbouring villages offer a relaxing refuge to those whishing to escape the bustling metropolis. The presence of the sea filling the site with its soft breeze and the rustling of trees give nature the power it deserves. The presence of an expanding promontory allows us to soak in all of nature’s delights in an awe inspiring perspective. The proposal to design a vacation house for this site left no shortage of inspiration and ideas to explore several relationships between man and nature. The creation of a place that for once suggested a resting, and stopping motion while being in close contact with the site seemed a natural course of action. Always taking inspiration from the great tradition and heritage of Japanese architecture and literature, the appreciation of an architecture that was built from the inside looking out, that embraced the far reaching shadows and looked at the dwelling as an intermediate between the exterior and interior, was the conceptual focus of this house. Segregated with three adjacent modules - private, public and independet - the hosue is able to blur distinctions between inside and outside, and explore different layers of interior space.

Fornos, Meco | 2017 Design Studio III with Arch. J.P. Falcão de Campos, Arch. Miguel Braz and Arch. Filipa Mourão 10

FLOOR PLAN

07 05

02 09 01

2 0 01 - Living Room | 32.3m² 05 - Office | 15.4m² 09 - Pantry | 4.8m² 12

4 02 - Kitchen | 15.5m² 06 - Guest Room | 15.4m² 10 - Storage | 6.9m²

03 - Bedroom | 15.7m² 07 - Bathroom | 6.9m²

(m)

04 - Master Suite | 23.3m² 08 - Kitchenette | 6.9m²

3 0

12 6

(m)

A-A’ Section

SUBVERTING DOMESTICITY with Tiago Ribeiro

“This segregation of the public and private spheres according to sex roles reinforces an emotionally monolithic stereotype of women and men” - Jane Rendell The schism between the public and the private, the communal and the doesmtic - highlights the gender dichotomy within society. In Senegal, rice produciton is still largely kept as an in-household production where the work tended by women is still kept within the domesticity of the home. The Women’s House is a place that congregates intense labour activities while bringing them to the epublic sphere as an emancipatory liberating act. In a crucial forest clearing close to the numerous rice fields near Tanaff Valley allows the project to directly address this topic. Designed as a sucession of spaces that go from the public sphere to the agricultural one, the project is initially established through a public square directly connected with the main road of the village and ends with a direct physical and visual connection to the rice fields of the region. Built with two platforms that house the Administration, Religiousand Activities spaces, the project also supports the labour of rice production providing adaptable spaces that can serve as storage and shelter for drying, hulling and processing rice. Thus, the emancipatory qualities of equal labour rights and ensuing economic liberation are essential to the project and guarantee the centrality of gender equality within the Women’s House and Baghere village as a whole

Baghere Village, Senegal | 2021 Women’s House Competition by Kaira Looro kairalooro.com 16

FLOOR PLAN

01 - Public Plaza | 370m² 05 - Auditorium | 108m² 18

02 - Exhibition | 67m² 06 - Exhibition/Storage | 15.4m²

03 - Administration | 42m² 07 - Roundtable Discussion | 67m²

04 - Prayer Room | 42m² 08 - Rice Fields

1 0

4 2

7,5 0

30 15

(m)

System Construction

(m)

A-A’ Section 19

NEW CLASSICISM with Manuel Baptista Trienal de Lisboa Universities Competition Finalist

‘Architecture is to Geometrize’ - Álvaro Siza Vieira The dialogue between the project and the architectural heritage of Marvila, assumed in the form of the Palácio da Quinta dos Pinheiros, will form a centre always in contact with both the memory and the future, represented in a light structure that rises from the ground floor. The central linearity between the project and the palace gives it a new instilled importance, which is formalized in a grand ascension that connects all the different podiums, marking the palace as a crowning finale in a dynamic promenade architectural. A new synthesis planning a post-modernist balance between the rooted erudition of the Greek tradition and the eclectic modern heritage, breaking with dogmatic views of architecture and trying to reach a harmonious aesthetic for the future. The structure touches the podiums in the form of a grid of slender pillars that shape the space connecting it with the urban fabric, and offers free appropriation for social use. The roof is opened in two strategic locations, an open air square with the objective of bringing light and ‘gather people’, and an auditorium capable of hosting live events and shows for the community. A weightless glass structure is introduced in contrast with the hardness of the podiums and utilizes the roof using its structural components to assume its materiality in a light free open space, where the more educational activities, like workshops and study spaces, take place.

Marvila | 2019 Design Studio V w/ Arch. Ricardo Bak Gordon, Arch. Pedro Sousa & Arch. Pedro Domingos Trienal de Lisboa Universities Competition 20

BIRD’S EYE AXONOMETRIC

15 0

60 30

120

(m)

01 - Auditorium| 324m²

02 - Public Square| 310m²

03 - Commercial Area| 1001m²

04 - Quinta dos Pinheiros Palace| 1896m²

05 - Student Workplace| 252m²

06 - Communal Space| 1930m²

WORM’S EYE AXONOMETRIC

2 0

8 4

(m)

1.5 0

6 3

12 01 - Black Painted Steel

(m)

02 - Lioz Marble

03 - Concrete

04 - Waterproof

fing Layer

Constructive Section A-A’

05 - Steel Window Frame

06 - Drainage

07 - Lighting Fixture

A CAMPUS BY THE DOCKS with Manuel Baptista “By the Tagus, you go to the World” . Alberto Caeiro In a crucial border of Lisbon, where the Tagus River meets the Atlantic Ocean, a Campus of the Sea is proposed in the old instaltions of Doca-Pesca. The project articulates the two realities of the campus, the research workspaces and workshops and the researchers residences for temporary housing. In that sense a manifestation of the private and the public must be defined at an urban level using both the relationship of the site with the sea and with the dock for that effect. Turned to the dock is the bustling life of the project. A “ring” of public programs from the campus life to restaurants, bars and shops circumdates the beautiful Doca de Pedrouços and keeps in close contact the boats and the workshop areas. On the other side, the residential volumes create a linear green park that opens the site to the sea and the Tagus estuary. With this dynamic the project very deliberately contrast what is the more public life of the dock with the more private of the green and the sea meeting all the necessities out of the people who inhabit the campus but also offering a new seaside space for the residents of Algés and kickstarting an urban renewal of the entire shoreline offering both active and resting spaces at an urban scale.

Doca de Pedrouços, Algés | 2018 Design Studio III with Arch. J.P. Falcão de Campos, Arch. Miguel Braz and Arch. Filipa Mourão 26

RESIDENCES FLOOR PLAN

10 0

01 - Entrance | 41m² 28

(m) 80

20 02 - Business | 63m²

APARTMENTS FLOOR PLAN

Duplex First Floor

Duplex Second Floor

1.5 0 01 - Living Room | 18/28m²

6 3

02 - Bedroom| 6/10m²

03 - Balcony | 13/20m²

(m) 12 04 - Kitchen | 7/12m²

05 - WC| 4m² 29

4 0

16 8

(m) 32

A-A’ Section

ARTEM CONCLUSUS with Clara Oliveira

“(...) a work is inseperable from the manner of its foundation in the ground and the ascendancy of its structure” - Gottfried Semper Assuming the present heritage as immutable and part of the natural growing environment, a stereotomic foundation is proposed to shelter the Hill of the Arts. The search for shelter and wordly expression have always been tightly knit. Architecture as a shelter, as a safe space to explore the artistic experience contrasted to the natural world, is, in that sense, the conceptual drive behind this project. On a constant dynamic between the natural, ever changing and always growing, and the man made, geometrazied and static, Art finds a place to grow and be nourished. Being the nucleus of the project the auditorium serves as a node to the entire project, connecting its three main levels. At the top most level, the public sphere, a minimal intervention can be seen as a way to highlight the already existing beautiful heritage present at the site; The level below, the Art and Wellness Center, has the most radical transformation and the clash between the stereomically designed marble and natural elements brings both comfort and dynamism to the heart of the project. Finally, at the bottom level, the more private area of the program is accomodated and we have the Artist Rooms and the sprawling forest with sparce Art Cabins, structures made to synthethise the project in a single locus and confront in an intense micro cosmos the man made and the natural, a literal refuge.

Villa Altissimo, Turin | 2020 Hill of the Arts Competition by Young Architects Competitions youngarchitectscompetitions.com 32

A-A’ CROSS

3 0

02 07 02

24 12

01 - Auditorium | 83,3m² 05 - Sauna| 24m² 34

48 02 - Art Exhibition | 214,3m² 06 - Turkish Bath | 21,96m²

(m)

03 - Artist Houses | 275,8m² 07 - Locker Room | 40,4m²

Bottom Level Plan 04 - Thermal Baths | 157,5m² 08 - Outside Pool | 87,95m²

SECTION

(m) 24

6 0

24 12

01 - Restaurant | 251m²

48 02 - Guest House | 774m²

(m)

03 - Workshop Spaces | 260m²

Ground Level Plan 04 - Auditorium | 83,3m² 35

NAKAGIN CAPSULE TOWER MODEL with Clara Oliveira and Manuel Baptista “We regard human society as a vital process - a continuous development from atom to nebula” - Metabolist Manifesto It was in 1970 that Japan dazzled the world with 1970 World Expo as a celebration and culmination of 10 years of Metabolist experiments and utopias. In that same year Kisho Kurokawa built the Nakagin Capsule Tower with a bold constructional system and utopian character. Imagined to be part of an urban cluster of towers, the Capsule Tower was designed to, in the spirit of modernity, be modular, temporary and mobile, just like a living organism. The cosmopolitan and transient nature of the modern world called, according to Kurokawa, for a completely modular city where people could transport and change their home at a an affordable and fast pace. With that in mind the capsule tower has 2 central structural cores that hold the access to the apartment, and a variety of different capsules that can be arranged in any way people want when fixing their house. In that nature, and in attempting to reconstruct on a model the spirit of the Metabolist, this model transfers the basic principles of the tower to a small accessible scale, with all the capsules being removable and reorganized to a magnet fixation system.

2018 Design Studio III with Arch. J.P. Falcão de Campos, Arch. Miguel Braz and Arch. Filipa Mourão 38

RESEARCH 43

SHAN G “In societies dominated by modern conditions of production, life is presented as an immense accumulation of spectacles (…) we have to operate on the methodological terrain of the society that expresses itself in the spectacle (...) All having must now derive its imediate prestige and its ultimate purpose from appearances.” - Guy Debord, “The Society of the Spectacle”

Spaces of retail were, for Walter Benjamin “temples of commodity capital”. Such a notion makes them special places within the commodified metropolis and spaces which, as Manfredo Tafuri understood, provided the “spatial and visual means for a self-education from the point of view of capital”. Retail then, is the space where the subject is commodified and leanrs to engage and think of itself as a collection of products. This commodification creates a fragile feeling of superficiality and inauthenthicity that pervade our quotidian life, where “all that is solid melts into air” . To use capitalism’s and modernity’s contradictions towards a real experience is the aim of this project.

K11 Mall, Shanghai | 2019 Design Studio on Future of Retail with Arch. Ercoment Ergul 44

G HAI K11

C o m m odifyin g th e S pectacle f or a new Retail Avant- G arde

Based on Guy Debord’s exploration into the spectacle as a necessary methodoligal condition through which we must work with, the project for a new retail space in Shanghai’s K11 searches for the constant stream of images and collage of experiences as an opportunity for artistic exploration. Retail can, thus, offer a physical space, an atelier of the self, where the consumer has enough freedom and stimuli to be constantly engaged in an artistic exploration. The commodity becomes the paradoxical authenthicity, and thus, the cornerstone of this new architectural space.

Curation as an art form is slowly being democratized by the internet and the the quest for a personal aesthethic dominates the lives of today’s youth. The relationship between the Self and the Image can both be a toxic obsessive one or an artistic opportunity. It can manifest itself in feelings of innadequacy or it can be a singular opportunity to express your inner Art and become a producer rather than a consumer.

But retail and capitalism can offer other responses, they can feed into the artistic project of the self and have offer stimuli as a tool rather than as a need. Retail can, thus, offer something that neither the internet nor social media can: a physical space, an atelier of the self, where the consumer has enough freedom and stimuli as to be constantly engaged in the artistic exploration of new aesthethics.

“(...) architecture may well have to merge with vulgar reality and accept juxtaposition and montage as design principles which allow for this merging.” - Hilden Heynen

The feeling of collage, where “all things float with specific gravity”, is then subverted from its more pernicious connotations towards a more freeing and liberating one: it allows the creation of an egalitarian and exploratory environment, where no one thing overpowers another and allows for a creative exploration of artistic references and products.

Using the showcase as the architectural manifestation of tretail the project proposes a dialogue between the commodity and the materiality of architecture. Hence, the structuring principle of a wall in direct relation to an object becomes the genesis of the project. From this genesis a spectacle occurs, of montages and juxtapositions that break away all spatial conceptions and stimulate the consumer into an exploratory frenzy. In this environment the consumer becomes producer free to explore himself artistically in a curation of the self. Thus the project establishes the inversion of the producer-consumer relationship, an inversion of the store space and a new unity between Art and Consumerism.

N AN KIN The master thesis analyses the development of modern architecture in Shanghai during the Republican Period (1912-1937). The study attempts to analyse three distinct case studies: Metropolitan Consumer Culture in Nanking Road; Modern Movement in Honqgiao Sanatorium; and Nationalist Architecture in the Greater Shanghai Plan. The study finds shared problems within all case studies born out of the uneven imperial relationship between China and the West. Western models were supplanted over Chinese traditions, ignoring any cultural differences by subscribing to a temporally universal worldview.

When tracing the developments of Chinese modernity, a study of the creation of a modern metropolitan experience within Shanghai will provide an important research to be carried. The Baudelairian metropolis will be a collage of changing images and people. Within this spectacular and transient environment then, the new, is going to be what’s valuable and recognized. It was not long before spaces that could accommodate this phenomenon were created within a single unitary space – the Department Store. In no other place did the consumer culture crystallize better in China than in Nanking Road. Department Stores were quickly established, first by foreigners for foreigners, and later by Chinese entrepreneurs to penetrate the growing Chinese middle class market. These structures, which blossomed a consumer revolution in Shanghai, purposefully competed and adopted foreign models as a way to evoke prestige, both in their unprecedented scale and aesthetics.

Master Thesis | 2020-21 48

N G ROAD

T h e C o n s u mer M etrop olis an d Chines e Modernity

Shanghai’s colonial setting will imbue the alienating character of the consumer metropolis with an equally alienating foreign character. There was a conflation of Western forms with modernization, hence the use of the Western tradition instead of Chinese designs. For many Chinese residents most of these foreign forms were literally impossible to access. Whereas pagodas sought to relate with nature and the building compound they were in, skyscrapers attempted the opposite: to stand out, externalize themselves from its surrounding environment. The building’s main drive will be its economic value. The Chinese correlative view will extend to urban space itself and search for an inter-related environment rather than a single entity. Something which will result in urban models, that, while structured, will not arise the feelings of alienation resulting from the western metropolitan environment. While the Chinese city will be a mosaic collage of differing and changing environments, it will be structured within a rationalized and integrated metabolist logic of growth and adaptability. 49

HO NGQIA Th e D ia sp ora of the Modern Movem ent

The Modern Movement will rely on reason as a universal value to progress and universalize architecture. Xi Fuquan’s architecture, will accept this formulation and follow closely the developments of the Modern Movement. The Shanghai Hongqiao Convalescent Hospital of 1934, the ‘Hongqiao Sanatorium’, due to its program, will be its more modern design and built on a functionalist rationale: it will make use of European innovations in healthcare, from Döcker’s (1894-1968) recessed terraced typology to Aalto’s attention to functional detail as a way of achieveing this supposed universal and rational architecture. The sanatorium will look at the formulations of the Modern Movement as the future for architecture in China, a single homogenous conception of modern architecture. Within the imperial context modernity will play a role in constructing this primitive Other in relation to the modern West. Modernity’s tabula rasa desire to eradicate the old in order to build the new is here, then, taken as a literal subjugation and eradication of the old Other by the new West. The Hongqiao Sanatorium can be said then to be an internalization on part of the colonized of a single western conception of modernity, of a Westernization through the use of objectivity and ‘universal’ reason. The Chinese tradition will have fundamental similarities and differences with the Modern Movement itself. From its conception of inter-related space and its highly modular and standardized conception of building structure. On the other hand, it didn’t dogmatically attempt to synthesize a universal formula but rather embraced variety and change within its correlative world, it embraced oppositions.

Master Thesis | 2020-21

N AT

The formation of a modern China birthed a nationalist movement with a simultaneous need to search and break with one’s roots. In architecture, this project was carried out by the 1st generation of Chinese architects who studied abroad under the Beaux-Arts methodology. An attempt to construct a revivalist and modern style, with a Chinese ti - essence- and a foreign yong - function or form - will be carried out by this generation under the banner of the ‘China Renaissance’. The Greater Shanghai Plan’s main goal was a direct statement of national sovereignty opposing the International Settlement. The heart of the plan was designed by Dong Dàyǒu along clear American City Beautiful lines where a monumental ensemble of stately building surrounded by open plazas and long stretching boulevards created grand perspectives that represented an homogenous

However, the style and the plan will show some fundamental problems in its implicit ability to separate foreign technology from foreign culture. The domination of the urban space through a forced homogeneity will be accomplished using Western methods. The need to represent itself through a marked identity – the town square - is also an inherited Renaissance formulation. In this sense, the search for a Chinese tǐ, by forcing a homogenization of Chinese culture through a Western yòng –the Beaux-Arts tradition - becomes akin to a Western conception of the Orient, a ‘Orientalist architecture’. Chinese architecture has, despite its apperceptive quality, been able to maintain a unique, distinctly Chinese identity for millennia, which implies that national identity itself is a product of local, apperceptive and diverse formulations and not a forced homogenous conception. Through the Confucian-Daoist model Chinese architecture has been able to maintain a stable identity while being built on a highly diverse and adaptable system.

I O NA LISM Orien ta list State Architecture

. 51

RECOMENDATION LETTER 53