Portfolio Julia Almeida

2012 portfolio

Julia Almeida

2012 portfolio

Julia Almeida

julia.almeida.arch@gmail.com mobile: +44(0) 7526 474 959 home: +44(0) 1908 233 389

academic

Natural Prosthesis_2

4 Soft_8

Plus Minimal_12

Fabrica de Cultura da Luz_16

Collective Housing_20

professional

Bloom_24

PA Atelier_26

Jewellery_28

academic

Natural Prosthesis_2

4 Soft_8

Plus Minimal_12

Fabrica de Cultura da Luz_16

Collective Housing_20

Natural Prosthesis

References

Wax Lake Delta_sedimentation

1951

AADRL Master Research Architectural Association 2011-2012 London, UK in collaboration with: Jose Cadilhe, Michail Desyllas and Salih Topal Tutors: Alisa Andrasek / Jose Sanchez Species enhancement_birds, fish and bivalves_biorock growth

This research investigated the potentials of architecture as a complex living organism constantly negotiating with nature. Based in an estuary, it explored the constantly changing dynamics of its environment such as the water flow and sedimentation.

Through agent-based systems, data from the scenario informs the growth of the structure in a bottom up approach. In a first moment the

Structure studies

position of the anchoring points is determined, then evolves into the structure. Under the water, the grass field structure is responsible for the redistribution of water forces, sedimentation enhancement and fish farming. Above the water only a small percentage of the system is developed for human use. The “inhabitable� spaces are artificial topographies that can evolve programmatically, thus enabling different uses or events. From a visiting platform it can evolve to research or educational centres or ultimately, housing.

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Water flow analysis

Structures impact in the water_water flow and sedimentation

2005

Water flow

Agents rules_anchoring points definition

Prototype

Grass Field

Agents highlighting different potentials in the site Grass Field_Oyster Farming_Inhabitable Spaces Inhabitable Space

Oyster Farming Grass Field structure

Oyster Farming structure

Zoom of the Prototype

Structures impact in the water flow

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In order to answer the non-linear dynamics of the river, a series of experiments were done with metal structures. Just like in the mangroves, the models explored collective behaviour and redundancy. The articulation of metal fibres was done through weaving, entanglement and rotation to achieve a system with no need of a mechanical fix joint.

Resistance increased by entanglement

Metal fibres structure

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Foam

Foam catalogue_pipes with different patterns of holes releasing foam

Expandable foam was explored as a material that can present very interesting opportunities to design. Apart from its well know characteristics such as lightweight, resilience, insulation and flexibility, foam has an extraordinary ability to self-organize and to emphasize its flow pattern.

Many study models were done to catalogue foam behaviours when released through fibres (pipes with holes) allowing an emergent process to happen.

1:1 sweating pipes model

Detailsl

Foam as a translucent material 5

Fabrication

Sweating system_expandable foam with pipes

Enclosed space definition

250 cm 250 cm

Slab system_expandable foam and fabric

Slab system_reebar

Grass field_reebar

30 cm

30 cm

Foam cushion placement

Lightweight slab

Anchoring slab structure

Bended reebars

Foundation anchoring

Grassfield Anchor

30 cm

30 cm

70 cm

100 cm

Anchoring System 6

Biorock

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4 Soft

Rules

AADRL Workshop II Architectural Association 2010 London, UK in collaboration with: Jose Cadilhe, Michail Desyllas and Salih Topal Tutor: Theodore Spyropoulos

Structure generations Generation I_a

This workshop was developed using Maya Hair Dynamics firstly exploring a 2d universe that later on evolved into a 3d environment searching for different configurations of line. Rings on faces of simple volumes such as a cube or a pyramid were used as a way to determine points in space that afterwards would be connected with lines according to specific rules. The images in the right were generated with this logic.

Later on, this system evolved even more using the Weaire-Phelan structure (composed by dodecahedron and tetradecahedron assemblies) to define a structure that could grow in different directions.

The systems created had a big differentiation in the nodes with a variety of configurations. In response, the Soft Joints were created, capable of responding to different organisations and force distributions avoiding standard fix joints.

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Generation I_b

Generation II

Generation III

Generation I_node analysis

Generation II

Generation III

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Generative process _linear organisation Weaire-Phelan structure and rules to define structure

Model I

Model II

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Model III

Nodes rules

Soft Joints generation

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Plus Minimal AADRL Workshop I Architectural Association 2010 London, UK in collaboration with: Jose Cadilhe, Michail Desyllas and Salih Topal Tutor: Theodore Spyropoulos

Plus Minimal combined casting systems with minimal

surfaces

by

articulating

material

properties, flow patterns, manufacturing and structure. The main challenge was to find the best combination of stitching pattern and fabric elasticity to allow a homogeneous casting system. 3d software such as Maya and Rhino were used to test and simulate dynamics and to assist in the physical experimentations.

The goal was to fill a structure with the minimum amount of pouring points possible using only gravity. The result was a unique radial flow distribution only possible by a minimal surface initial configuration.

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Minimal surface experiment with lycra

Articulation between digital and physical experiments

Testing flow redistribution zone

Redistribution zone

Flow pattern

Casted model

Casted model

13

Tripod wood frame

Upper part

Midle part

Lower part

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Lower part casted

Stitching pattern and flow distribution

radial pattern redistribution zone pouring point 15

Fabrica de Cultura da Luz

COM TÉRREO

PERSPECTIVA CAFÉ E BIBLIOTECA PAVIMENTOS ATIRANTADOS

Undergraduate Final Year Project Universidade Presbiteriana Mackenzie 2009 São Paulo, Brazil

GRELHA ESTRUTURAL DA COBERTUTA. TRELIÇAS TRANSVERSAIS

ESTUDOS DE COBERTURAS

Study models of the cantilever roof openings _ relation museum and the city

MAQUETES DE ESTUDO

COBERTURA FINAL

Tutor: Guilherme Motta TRELIÇAS

LONGITUDINAIS

Study sketches of the cantilever roof In this project, the boundary between interior APOIADAS NAS CAIXAS DE ESQUEMA DOS PAVIMENTOS - USOS E ACESSOS CIRCULAÇÃO VERTICAL.

and exterior is broken by a great cantilevered RESPONSÁVEIS structure that articulates TIRANTES different spacesPOR in a

COM TÉRREO

ATIRANTAR A TRELIÇA LON-

PERSPECTIVA ESCADA DE ACESSOPAVIMENTOS AO 1° PAVIMENTO E SUA CAFÉ E BIBLIOTECA ATIRANTADOS RELAÇÃO COM A GRANDE COBERTURA

circulation

O 1° E 2° PAVIdialog with the city. LocatedGITUDINAL in an important zone MENTO

vertical circulation restrict access – employees restrict access – authorized people PERSPECTIVA NOTURNAS emergency exit access to the public

of São Paulo, now degraded, but historically PILARES DE CONCRETO NA PERIFERIADO EDIFÍCIO

recognised by its arts and fashion activities, this cultural centre brings back to the area some of the values and traditions lost.

Ultimately it acts GRELHA ESTRUTURAL DA COBERTUTA.

TRELIÇAS

as a catalyst for an urbanTRANSVERSAIS reinvigoration of the

UTURAL

programme

“Parque da Luz” and surroundings.

cover school museum administration auditorium library restaurant / bar circulation PERSPECTIVA service CAFÉ E BIBLIOTECA PAVIMENTOS ATIRANTADOS public circulation groung floor parking lot

The cantilever roof projects a missing pedestrian walkway that connects the closest tube station TRELIÇAS

LONGITUDINAIS

APOIADASthe NAS circulation.

CAIXAS DE to a park, therefore redistributing CIRCULAÇÃO VERTICAL.

IMPLANTAÇÃO COM TÉRREO esc. 1/1000

The cantilevered metal structure containing the TIRANTES RESPONSÁVEIS POR

museum gives the visitors the opportunity ATIRANTAR A TRELIÇA LON- to

PERSPECTIVA ESCADA INTERNA DE DOACESSO MUSEU. AO 1° PAVIMENTO E SUA PERSPECTIVA ABERTURAS DA COBERTURA PERMITEM UMA PERMEABILDADE RELAÇÃO COM A GRANDE COBERTURA VISUAL ENTRE INTERIOR E EXTERIOR.

GITUDINAL O 1° E 2° PAVI-

have a direct contact with the outside space, MENTO GRELHA ESTRUTURAL DA COBERTUTA. TRELIÇAS TRANSVERSAIS

DE CONCRETO NA whilst at the same time PILARES allowing pedestrians PERIFERIADO EDIFÍCIO

passing by to see part of the exhibition. The TRELIÇAS LONGITUDINAIS APOIADAS NAS CAIXAS DE CIRCULAÇÃO VERTICAL.

most demanding challenge in this project was the structure itself, where the big cantilever, TIRANTES RESPONSÁVEIS POR ATIRANTAR A TRELIÇA LONGITUDINAL O 1° E 2° PAVIMENTO

PERSPECTIVA ESCADA DE ACESSO AO 1° PAVIMENTO E SUA RELAÇÃO COM A GRANDE COBERTURA

supported by a metal truss frame, was also PILARES DE CONCRETO NA PERIFERIADO EDIFÍCIO

UTURAL

responsible for sustaining the storeys below it.

ESQUEMA ESTRUTURAL

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Elevation north

ELEVAÇÃO NORTE

Elevation south

13,5

13,5

Fourth floor_museum

Composition sketches of museum openings

Third floor

Elevation west

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Structural diagram

Detail section Articulation between concrete and metal structure

metal structure

transversal metal truss frame cantilever structure_museum

longitudinal metal truss frame

higth tension cable structure

concrete pillars

Transversal section

detail section

Study models Relation between truss frame and museum 19

Site Plan Sketch

Collective Housing

Site Plan

Typical Plan

Ground Floor

Erasmus programme FAUP 2006 Oporto, Portugal

This project operates in two scales. In a first moment, the surrounding areas of the “Casa

office opened street

da Música” by architect Rem Koolhaas were

commerce collective housing

considered, especially the area between the “Casa da Música” tube station by architect Eduardo Souto de Moura and the music centre itself.

Circulation,

accessibility

and

visual

contact were the key ingredients to the project that consists of multiple mixed use buildings: collective housing, office, commercial and public space. Moreover, the magnitude of the proposed development required new streets to be opened

Casa da Música, Rem Koolhaas

to enhance the access and circulation by both pedestrians and vehicles.

In a second moment and changing the scale, a collective housing building was selected for further development and detailing. Several types of organisations and flat distributions were tested until finally reaching a fine level of constructive details and material research.

Casa da Música tube station, Eduardo Souto de Moura

Sketch Section BB 20

Sketch Section AA

Typical residential Plan

Typical Section Detail 1

Transversal section

1 2

2

4

6 3

5

4

6

5

7

7

3

8

21

professional

Bloom_24

PA Atelier_26

Jewellery_28

Bloom Bloom - the Game 2012 London, UK

The interactive pavilions were commissioned by the Mayor of London as part of the “Incredible Installations� programme for London during the Olympic and Paralympic games. They were allocated initially in Victoria Park and the UCL main quad and after migrated to the Cutty Sark.

Bloom was built out of thousands of recyclable plastic components creating an urban garden, a social game. Together with a team of designers, we created structures, spaces and benches that could be appropriated by people. Spare pieces were available so the visitors could interact with the installation assembling they own structures.

pattern recognition

The result is an urban toy constantly negotiating with its surrounding.

24

structural testing

material behaviour_flexibility and resilience

UCL main quad

Cutty Sark

25

PA Atelier

1-Garage 2-Store 3-Basement

4-Toilet 5-Kitchen 6-Access

2005-2006 S達o Paulo, Brazil

The PA Atelier was aimed as an environment of multiple and flexible use comprised initially of

1

a ceramic workshop, store and pottery school.

The client wanted a very bright space with open

first floor

plan and the minimum amount of divisions. The development was split up in two blocks divided and at the same time connected by a small garden. The front block has the store and office whereas the back one provides the space for the ceramic studio and its working areas. The blocks are physically connected by a small footbridge in the first level which highlights the interesting

ground floor

game of volumes between both buildings.

The steel structure not just guaranteed a faster construction but also created an interesting connection between the roughness of the pottery and a more high-tech design. The option of white as a background works as a discreet scenario allowing the ceramic pieces and sculptures to emerge as the protagonists of the space.

Award: PA atelier was selected to participate in the Seventh International Architecture Biennal of S達o Paulo, 2007.

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lower floor

7-Stairs 8-Kiln area 9-Jewellery atelier

10-Ceramic workshop 13-Reception 11-Ceramic workshop 14-Office 12-Garden 15-Footbridge

16-Mezzanine 17-Music studio

longitudinal section

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Jewellery Julia Almeida Jewellery 2007-today São Paulo, Brazil / London, UK

As an Architect, my endeavor towards design, materiality, manufacturing and details made me start quite early working in parallel with jewellery.

The engagement with it took place initially in my home country where the fundamental techniques were acquired through apprenticeships that eventually culminated into a solid formation in Portugal, my second homeland.

My work generally incorporates architecture features

into

small

scale

objects

always

exploring material properties. The uniqueness of each piece is achieved by different

types

of finishing such as textures and patterns. The introduction of gold in my pieces was done through a technique called “Marriage of Metals” that merges silver and gold, highlighting the contrast between them.

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29

The opportunity of taking the master Design Research

Laboratory

at

the

Architectural

Association, London, put me in contact with new design and manufacturing technologies.

Materials previously worked such as silver and gold were temporarily put aside. Through avantgarde processes, contemporary materials such as MDF, walnut wood and acrylic were explored.

A recent trip to Milos, Greece, greatly inspired me by its beautiful natural rock formations. The horizontal patterns of layers found in the rocks are key aspects of this collection as well as the overlapping of colors.

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Julia Almeida julia.almeida.arch@gmail.com mobile: +44(0) 7526 474 959 home: +44(0) 1908 233 389