Mariana Santana
SELECTED PROJECTS 2009|2012
“It’s not how good you are, but how good you want to be.”
Paul Arden
Mariana Santana
SELECTED PROJECTS 2009|2012* Architecture portfolio
* For further information on other projects visit the portfolio website
6 Mariana Santana Profile About & CV
10 Aurora Observatory Competition Rovaniemi, May 2012 Archmedium
14 Marketlab Competition Paris, January 2012 Archmedium
32
36
Tanatorio 48h Competition Oporto, November 2011
Pilgrim Shelter Competition Santiago Path, April 2011
40
50
54
Post-Industrial Landscapes Academic Project Barcelona, January 2010
Emergency Prototypes Academic Project Lisbon, January 2009
Light Filter Material Experimentation Barcelona, January 2010
20 Beyond the Museum Academic Project Lisbon, 2012 FA-UTL
AEFAUP
FA-UTL
ETSAV-UPC
Annex Recommendation Letters Pedro Pacheco Architect and Sergi Serrat - GRND82
XXI Edition Pladur Competiton
ETSAV-UPC
6
MARIANA SANTANA SELECTED PROJECTS
7
PROFILE
Mariana Santana Lisbon is my hometown, where I was born in March 1988. Since early ages, it was through drawing that I was able to travel beyond my imagination. I have recently graduated architect from my master’s degree in Faculdade de Arquitectura – Lisbon’s Technical University, with a final project and theoretical thesis entitled: “BEYOND THE MUSEUM – The space for art, for artists and the architecture of the contemporary city”. I have spent a semester at Escola Tècnica Superior d’Arquitectura del Vallès – UPC, in Barcelona, which was one of the most rewarding experiences of my life. I also took part in national and international workshops, participated in several student competitions, organization of architectural events and trips, and in the most diverse courses (from drawing to photography and software) In the meanwhile, I found the time to be with my family and go on our surf trips, to help my nephews with their school’s parties by drawing scenarios and everything else needed, to go see my favourite football team every time a seat was vacant and to dream about having an independent book publisher (Flop Books). Now, I am looking forward to a fulfilling professional internship experience to dedicate and give my best to, allowing me to grow professionally and personally while constantly improving myself.
8
MARIANA SANTANA SELECTED PROJECTS
Personal Information Name/Surname Mariana Santana Adress Av Infante Santo, 368 R/C Direito 1350-182 Lisboa Telephone +351 919619528 E-mail marianapcrs@gmail.com Website www.marianasantana.com.pt Nationality Portuguese Birth Date 18th March 1988 Gender Female Maritial Satus Single Occuptional Field Architecture
Education Dates 09.2006-05.2012 Title of Qualification Masters degree in Architecture Final Project and Theoretical Thesis: “BEYOND THE MUSEUM - The space for art, for artists, and the architecture in the contemporary city” Name of Organization Faculdade de Arquitectura, UTL Location Lisbon Dates Title of Qualification Name of Organization Location
08.2009-02.2010 Erasmus Exchange program Escola Tècnica Superior d’Arquitectura del Vallès, UPC Barcelona
Skills and Competences Languages Portuguese Native English Good in understanding, written and spoken Spanish Good in understanding, written and spoken Software Adobe Photoshop, Indesign, Illustrator, Lightroom Autodesk Autocad Rhinoceros, Sketchup Pro, Maxwell Render, V-Ray Windows and Mac Technical Model-making in several materials Freehand drawing
9
PROFILE
Competitions, Workshops & Awards 2012 Noutra Costa Workshop, Lisbon, Portugal Coordination by Filipa Ramalhete and Pedro Campos Costa, CEACT/UAL 2012 Archmedium’s International Competition for Aurora Borealis’ Observatory 2012 Archmedium’s International Competition for Paris’ MarketLab | Finalist 2011 GO!Architecture v.3 (48h Ideas Competition) Organized by AEFAUP 2011 Pladur student competition, XXI edition, under the theme “Pilgrim Shelter” | 1st Local Place 2009 International workshop LOCUS (Let’s Open the Cities for us) in Évora, Portugal, Coordination of UPC Barcelona and Erasmus National Agency 2009 International workshop ASICUP (Architecture and Social Interaction in Commercial Urban Places) in Rome, Italy | 1st Place Coordination of UPC Barcelona and Erasmus National Agency
Publications 2011 Graphic edition and drawings in “Colecção in situ, Cadernos de Viagem - Viagem de Estudo Le Corbusier, França e Suíça 2009”, CECFA edition, FA-UTL 2010 Drawings in “Linha do Horizontel nº1”, CECFA edition, FA-UTL 2008 Drawings in “Diários de Viagem, Desenhos do Quotidiano” from Eduardo Salavisa, Quimera Editores edition
Others 2012 Participation in an article about best portuguese students in magazine Revista, of Expresso weekly newspaper (8th of September), with architect Manuel Aires Mateus. 2011 Architectural Photography Workshop, organized by OASRS and Ar.CO Coordination by Daniel Malhão and Manuel Silveira Ramos 2010 Volunteer in the organization of “Once Upon a Place, Haunted Houses & Imaginary Cities - 1st Conference on architecture and Fiction”. A project of FA-UTL in association with Lisbon Architecture Triennial 2010 Invited student to participate in the CIN Re-Make’10 - Contemporary Exhibition of Urban Art project 2010 AICO Architecture International Congress at Oporto
Personal characteristics Responsible character, dynamic atittude and critical curiosity Experienced in project collaboration and team work Eager learner and hard worker
Interests Graphic design, travel, cinema, surf, football, legos and a good book
10
MARIANA SANTANA SELECTED PROJECTS
Competition
AURORA OBSERVATORY Archmedium Students Competiton Rovaniemi, May 2012 in colaboration with João Paulo Torres and Teresa Alves Ferreira
The Aurora Borealis or northern light With its scintillations so strangely bright, Shifting and dancing along the sky A picture of beauty to please the eye. Let sage philosophers search out the cause, And tell me the Science of Nature’s laws; And how these refractory rays of light Enrich the north of a frosty night. But let the omen be what it may, I love to gaze on the bright display Of the ever-varying, changing hues, Portrayed in these grand dissolving views. S.Moore
NIGHT BRIGHT SIGHT Scattered in the Rovaniemi landscape, the seeing towers present themselves as the structural archetype of the relations that are meant to be established between this new space for the observation of the auroras, its immediate and distant surroundings, and its users. The verticality assumed and the repeated materiality (wood) allows the opportunity for a fragmented appropriation of the landscape that merges and repeats itself. The towers, as trees, grow towards the northern sky. In their interior lives a cozy shelter, and in the top a view that opens in all directions, establishing a dual relationship, between living and contemplating. The dispersion of the program enhances the self-reliance of each element towards the others, allowing them to work even when some are inoperative (due to logistic reasons, or even environmental variables). On the other hand, it allows the multiplication of it’s module, whenever necessary, appropriating the landscape, as if it is just another tree that sprouts out of the earth.
Winding Towers Bernd and Hilla Becher
AURORA OBSERVATORY
11
12
MARIANA SANTANA SELECTED PROJECTS
Restaurant
Hostel
13
AURORA OBSERVATORY
Saunas
Exhibition
Planetary
14
MARIANA SANTANA SELECTED PROJECTS
Competition | FINALIST
MARKETLAB
Archmedium Students Competiton Paris, January 2012 in colaboration with Ana Sofia Amador, Gonçalo Batista and João Filipe Varandas
“Cooking, like architecture, manifests itself in building. The cook, like the architect, draws on an infinite array of creative resources which make it possible to create wonders from basic construction materials. But even using the finest marble or the best caviar, success is not guaranteed. Architecture, like cooking, evolves and lasts in the form of memories, tastes, and temperatures.” Ferran Adriá in Back cover of the essay collection “Eating Architecture” MITPress 2004
OFF THE MENU Taste for space The core idea behind this Marketlab is of a place where unconventional gastronomical creation and production can take place, and where the act of cooking can be seen as a state of mind as well as an art form. An off the menu space that goes beyond the established cooking schools or the static idea of a restaurant. The program seeks to associate the concept of MarketLab to that of Paris’ traditional covered markets,reinventing them and generating a network of spaces for creation and gastronomical education. As so, the building concept proposes a fusion and reinterpretation of the city’s archetypes: Haussmann’s grid, the typology of the market, and the reemerging idea of the edible garden. The ground level, as a continuous public path between the city, the building and the market, generates a covered plaza that develops into an architectural promenade and guides you from the street level to the top of the building. Throughout the stairs we are constantly drawn to look at views of the city or the building’s interior, until we reach the top where an opened to the sky edible garden is revealed. Flexible and ever-changing, the interior space for creative gastronomic experiences helps to develop an interaction between teaching, learning and tasting. The ultimate goal is to establish a relationship between the way we experience food and architecture and, in the end, to find and re-discover the taste for space.
Food Restaurant Gordon Matta-Clark, 1971
Luxor #1 (2007) James Casebere
15
MARKETLAB
MEMORY Haussmann grid
PUBLIC SPACE Market Tipology
SUSTAINABILITY Edible Garden
FUSION Paris MarketLAb
16
MARIANA SANTANA SELECTED PROJECTS
ROOFTOP LEVEL Edible Garden Bar Mirador Restrooms
RESTAURANT Instruction Kitchen CLASSROOMS Demonstration Kitchen Restaurant Kitchen Flexible dining/classes space Storage Rest rooms
AUDITORIUM LEVEL Lounge Area Storage Technical support room Rest rooms
STREET LEVEL Plaza Reception Administration Shop Rest rooms BASEMENT LEVEL Dressrooms Dry Storage Cold Storage Mechanical rooms
MARKETLAB
17
18
MARIANA SANTANA SELECTED PROJECTS
PRIVATE/PUBLIC ACCESS Mechanical
PUBLIC ACCESS Promenade
MARKETLAB
19
20
MARIANA SANTANA SELECTED PROJECTS
Academic Project I FINAL PROJECT and MASTER THESIS
BEYOND THE MUSEUM
The space for art, for artists and the architecture in the contemporary city Faculdade de Arquitectura - UTL, Lisboa 2012 with the orientation by Pedro Pacheco and co-orientation by José Aguiar.
“My museum of the future is about being close to those o make the art. It includes chapters and laboratories, large halls as well small rooms, white cubes and anti-white cubes. It is a perspective rooted in complexity, in the unexpected, the spontaneous and the unplanned.” Hans Ulrich Obrist
In the so called “generic city” more and more buildings, like museums, tend to claim their place as icons or landmarks instead of being relational, sharing and meeting places, full of activities and habitable. In “Beyond the Museum” it is intended to create a critical discourse that takes shape through the development of space for the arts in Junqueira, Lisbon. The proposal of the space for the arts has a social and public focus with the goal of allowing theoretical and practical research developments, artistic production and diffusion and, at the same time, being open to criticism and interdisciplinarity. This space must be though as an element of its own environmental context and this is a key factor for it to grow as a laboratory of, not only artistic but also contemporary cultural practices. Trying to achieve an architecture of relations (public and private, individual and collective, artist and society, art and architecture, past, present and future) the space is assumed as an essential unity for the architectural practice, being exploited drawing strategies that potentiate the unexpected, the change, the passage of time, in a word…life.
Junqueira old fortress Before it was destroyed was implanted exactly in the same place as this project.
Stairs in the Lisbon Riverfront
Higher Level Views Conection with the horizon and the Tagus River
21
BEYOND THE MUSEUM
Inhabitated Landscape
Laboratory of Contemporary Art Space for Informal Production Creator’s Archive Shared Production Spaces
Pedestrian paths and access
Visual relationships
22
MARIANA SANTANA SELECTED PROJECTS
23
BEYOND THE MUSEUM
1
2nd Floor 1 Independent production/exhibition space 2 Bar/Restaurant 3 Passage to the riverfront above the train line 4 Artistic Residencies 5 Hostel 2nd Floor (8 people rooms)
5
3 2
4
1st Floor 1 Bar with balcony over the canteen 2 Digital space with balcony over the creator’s archive 3 Independent production/exhibition space 4 Patio 5 “Artist’s Plaza” 6 Ateliers 7 Production/exhibition/workshop space (Laboratory of Contemporary Art) 8 Hostel 1st Floor (simple and duble rooms)
Ground Floor 1 Canteen (“Public living room”) 2 Atrium 3 Production/exhibition space 4 Creator’s Archive 5 “A window through the center” 6 Production/exhibition space (double height) 7 Informal Auditorium 8 Production/exhibition/workshop spaces 9 Large scale Production/exhibition space 10 Congresse center Entrance 11 Hostel Entrance 12 Art’s Pavillion
1 6
2 5
8
3
4
7
1 5 3
4
2
8
6
10
7
11 9
12
2
Garage 1 Parking 2 Áreas Técnicas 3 Independent production/exhibition space 4 Informal Auditorium 5 Production/exhibition/workshop for the Laboratory of Contemporary Art 6 Production/exhibition/workshop for the ateliers
6 3
1
2
4 5
24
MARIANA SANTANA SELECTED PROJECTS
BEYOND THE MUSEUM
25
26
MARIANA SANTANA SELECTED PROJECTS
BEYOND THE MUSEUM
27
28
MARIANA SANTANA SELECTED PROJECTS
BEYOND THE MUSEUM
29
30
1 Limestone (Calçada Portuguesa). 2 Sand. 3 Gravel. 4 LED Outdoor Lighting.5 Precast concrete. 6 Compacted ground with vegetation carpet. 7 Porous concrete. 8 Porous asphalt. 9 Retaining Wall. 10 Compacted ground. 11 Draining Layer + geotextile filter. 12 Asphalt screen. 13 Drain in PVC. 14 Concrete footing. 15 Porous concrete. 16 Geotextile filter. 17 Gravel for drainage. 18 Waterproofing and anti-roots butyl screen. 19 Layer form. 20 Pinecone drain. 21 Drip. 22 Double glazed window with “dual rail” aluminum frame (VITROCSA). 23 Light gray carpet. 24 Screed layer. 25 Filling layer. 26 Reinforced concrete slab. 27 Suspended ceiling system with plasterboard to paint (white) and lighting. 28 Sliding door. 29 Layer of lightweight concrete for pending. 30 Waterproofing with dual asphalt screen. 31 Thermal insulation of high density. 32 Reinforced screed. 33 Precast concrete slabs. 34 Precast concrete element. 35 Cement-based adhesive. 36 Eaves in stainless steel. 37 Concrete outer surfaces finished with sand blasting (low density). 38 Armor and luminescent lamp. 39 Reinforced concrete exterior wall. 40 Insulation 41 Reinforced concrete interior wall. 42 Floor boards in oak (Dinesen). 43 Pine wood props for floor fixing. 44 Semi-opaque protector screen. 45 Suspended metallic profile for exhibition elements and fixtures. 46 Fixed window (VITROCSA). 47 Floor in micro-sanded cement. 48 Radiant heating layer of high density.
MARIANA SANTANA SELECTED PROJECTS
BEYOND THE MUSEUM
31
32
MARIANA SANTANA SELECTED PROJECTS
Competition
TANATORIO*
GO! Architecture v3.0 Oporto, November 2011 48h ideias competition organized by AE FAUP *Mortuary Chapel
In order to develop a divine service space mainly to posthumous ceremonies of any religion, the architecture is considered not as a collection of several codes representing any kind of faith but, as an universal element to the human existence. The light as an element creator of space, and common to all faiths, appears like physical material regarding the perception of the project as an holy space, both in the mortuary chapel and in the main chapel. Here the towers and the courtyards that receive it change themselves, from day to night, into light focus or lighthouses, honoring the ones who are leaving. As a place to miss and to remember, the walls are “occupied” by seating places (internally and externally), corners to talk or to retirement. Along the building our sight runs into the surrounding garden, in which we might lose ourselves and wander, seat and remember a recent or ancient lost…. As referred by Freud in “Mourning and Melancholia”, the mourning is the constant and exhaustive work of redefining our relationship to defunct, so that they might be alive in our lives, in our memory.
Gilli III Eduardo Chillida
Sculpture, Hernani Park Eduardo Chillida
TANATORIO
33
34
MARIANA SANTANA SELECTED PROJECTS
35
TANATORIO
Ground Plan
Cafeteria
Florist
Administration
Restroom
Chapel
Atrium
Waiting Room
Funeral Room
Patios
Light Wells
Entries
Views to the outside
36
MARIANA SANTANA SELECTED PROJECTS
Competition | 1st Local Place*
PILGRIM SHELTER
Archmedium Students Competiton Paris, January 2012 in colaboration with João Paulo Torres, Teresa Alves Ferreira and Pedro Sepúlveda Nunes *Exhibited in Eurostars Hotel, Madrid
The Path Although it is essentially a way for express faith, the road to Santiago has become, in recent years, also an important cultural way. A path that has both as personal journey as a collective effort. The house is the shelter After several hours walking, our shelter presents itself and the desired home. The place where we live, where we share where we lay where we meditate, where he recovered strength for the next phase. Tower As a lighthouse that guides us, aims not only to be a reference point in the landscape, but also a place of meditation. On the outside, a concrete monolith. Inside, the light is the main protagonist, spreading from hundreds of small holes, which resemble the stars. The light from the firmament that accompanies the pilgrim in his prayer.
Graphite Block Mariana Santana
The Table When they finally stop to rest, the pilgrims find in the table their convivial, conversation and sharing space. As an aggregator of all the experience of the pilgrimage, here they recover their strength, exchange stories and prepare the future. The “Pladur” makes the home To the concrete element, which refers to an idea of pre-existence, heavy and protective, is added a plasterboard box, white and habitable. The plasterboard appears as the element that gives to the shelter the atmosphere of comfort, hospitality and refuge, in which the pilgrims will feel at home.
Path High Point Mark
37
PILGRIM SHELTER
One Shelter Santiago-Finisterra
Shelter Network All the way
38
MARIANA SANTANA SELECTED PROJECTS
Plan Typical Shelter
Section T1
Section T2
Section T3
Section T4
Section T5
Section Longitudinal
PILGRIM SHELTER
39
40
MARIANA SANTANA SELECTED PROJECTS
Academic Project
POST-INDUSTRIAL LANDSCAPE Energy museum and Space for Artistic Creation Barcelona, January 2010 in colaboration with Ana Sofia Amador *Exhibited in the Bèsos Civic Centre, Barcelona, from the 1st to de 12th of February in 2010
The thermal power station of Sant Adria del Besos was built in the seventies and today is preparing to finally shut down all of the machines and installations, that once, and thru ages, were responsible for the illumination that gave life to every single place of Barcelona. The industrial memory and a strong architectural identity intrinsically related to the three towers that emerge as a landmark in the skyline of Barcelona, make this place the ideal one to apply a deep regeneration and redefinition of uses, necessities and goals. In every place of the intervention area people will be invited to establish a connection not only with the built surrounding, from nature to concrete, but also with art in a lot of different forms. The reconnection between the earth and the see is achieved not only by the stairs that, in between the water tanks lead the people from a place to another, but also in all the visual connections, and relations that are created thru the voids of the built environment. The main stratagies for the building itself are the introduction of a simple functional architectural element, a thick wall, where we can find all the services areas like small storage, stairs, lifts, toilets, and also small multifunctional spaces that related with the bigger area in front of them, can be used to exhibit, to display, to rest, to play, to walk, to stay... And an aperture of a big exterior void, that allows to create an intermediate space of connection or separation between the turbine hall and the auditorium. This void can work as a connector between the two, a break point, or some times can also be related to only one of them. In the three towers we have, three totally different uses: one is a library; the other one an exhibition area; and the last one a residential scape for artists.
Analogy with the building and gardens of TATE Modern Museum (Herzog & de Meuron)
41
POST-INDUSTRIAL LANDSCAPE
Creation of a void and a Main Hall
Combinations of the void with the rest of the building
Programmatic strip of distribution
42
MARIANA SANTANA SELECTED PROJECTS
A1 A2 A3 A4 A5
Access Route of “Ferrocaril de Rodalies” Route of “TRAM” Bicycle path Barcelona to Badalona Pedonal path Barcelona riverfront path
M1 M2 M3 M4 M5
MEECABCN Main Building Library Tower Temporary Exhibitions Tower Artist’s Lofts Tower Space for future grow
P1 P2 P3 P4 P5 P6
Public Space Post-Industrial garden Multisport Silo Open air theater Exterior xhibitions space Acquatic activities silo Acquatic activities main building
M4
M5
M3
M2
M1
A1 P1
A2
P2 A3 A4 P3
43
POST-INDUSTRIAL LANDSCAPE
P6
P4
P5
A5
44
MARIANA SANTANA SELECTED PROJECTS
10
4 5 9
8
7
1
2
2 6
3
1 2 3 4 5 6 7 8 9 10
GroundFloor Main Entrance Lobby Area Bar/Cafeteria/Restaurant Store Area Warehouse/archive Loading Area Group entrance and Library Educational Space Administration Access to the Library Tower
45
POST-INDUSTRIAL LANDSCAPE
1
4
3
5
2
1 2 3 4 5
3rd Floor Large Scale Hall Balcony (void) Multipurpose auditorium Auditorium reception Performative arts space
46
MARIANA SANTANA SELECTED PROJECTS
POST-INDUSTRIAL LANDSCAPE
47
48
MARIANA SANTANA SELECTED PROJECTS
Roofing Asphaltic Layer Thermal insulation Water-proofing barrier Regularization Layer Light-weight concrete Metallic structure
1 2 3 4 5 6
Walls Concrete Structure Masonry wall with Plate in corten steel Perforated plate in corten steel Okalux glass Technical passage Joints in steel
7 8 9 10 11 12 13
Floor Slab Screed continuous pavement Separation layer Thermal insulation Reinforced Concrete Slab
14 15 16 17
Programmatic Strip Metallic structure “Sandwich� panels Thermal insulation Plasterboard Illumination with orientable down-lights
18 19 20 21 22
POST-INDUSTRIAL LANDSCAPE
49
50
MARIANA SANTANA SELECTED PROJECTS
Academic Project
EMERGENCY PROTOTYPE Lisbon, January 2009
“An out-board engine can turn anything into a boat” Reyner Banham As an emergency housing, for receiving four people on a temporary basis, it was necessary to design an architectural prototype that would accommodate the minimum needs of man, such as hygiene, rest, and meals in approximately 35 m2. Given the idea of an engine that could be placed anywhere in space and thus give meaning to is surroundings, the proposal is based on creating an element that embraces all these functions (cooking and dining area, bathroom, and beds), joining all the technical facilities in just one volume. It relates to the dining area with seating area, the most public of the home and the bathroom to the sleeping area, a more private space. The exterior space works as a extension of the public area of the prototype, assigning a dynamic interior/exterior relationship that changes throughout the day and the seasons, giving the impression that the space is bigger than it really is. The aggregation of several prototypes generates a small community inspired in the the Lisbon’s workers “Vilas”, where the proximity and personal relationships are enhanced to create a sense of belonging.
Studio Mobile Fuertes, Lecea and Monteys, 1999
Vila Rodrigues Lisboa, 2008
EMERGENCY PROTOTYPE
51
52
MARIANA SANTANA SELECTED PROJECTS
A
Prototype aggregation
C’
C
Simple
B
B’
Combined A’ 0
0.5
1
Section AA’
Section CC’ Four single people
2
Section BB’
Family (a couple and two children)
Two couples
EMERGENCY PROTOTYPE
53
54
MARIANA SANTANA SELECTED PROJECTS
Material Experimentation
LIGHT FILTER Barcelona, January 2010
Tractats, Sistemes i Models de Diferenciaci贸
MATTER THROUGH LIGHT 1 - Acrylic Element 2 - Apply the glue to one side of the acrylic 3 - Add another element and wait until it begin to dry 4 - Displace the two plates gently 5 - Put acrylic elements on top to prevent the glue from retract
LIGHT FILTER
55
56
MARIANA SANTANA SELECTED PROJECTS
Pedro Pacheco
architect Calçada do Correio Velho, 10-14 1100-171 Lisboa Portugal ppacheco@ppacheco.net www.ppacheco.net
Referral Professional traineeship
Mariana Santana have just completed the Master’s degree of Architecture at the Faculty of Architecture, Universidade Técnica, Lisbon. She is now ready to begin a professional traineeship in an architectural studio, thus launching a new professional phase. Having taught Mariana in the Projects course for the duration of the academic year 2010-2011 (first and second terms of the fifth year of the course), including the orientation of the Master degree Final Project, I can confirm that she was always diligent, motivated, and exacting student, with an innate architectural talent and sensibility, always profoundly immersed in her projects, whether conceptually, technically or culturally. These qualities enabled her to achieve the highest results in their academic work - particulary in the Final Project with a spetial mention from the jury, wich attributed her the maximum grade - and will surely guarantee her professional future. As a perusal of their portfolio will show, her mastery of drawing as an instrument of thought, research and communication - an aptitude that was consolidated during her academic training - is also an important foundation stone, and will make it possible for her to integrate in any working team. Knowing how important a positive experience of a professional traineeship is for a recently graduated architect, I wish to underline Mariana’s qualities as a brilliant student, secure that her contribution to an architectural practice will be significant.
Lisbon, 10 August 2012
Pedro Pacheco *
* Professor, Faculty of Architecture, Universidade Técnica, Lisbon
57
ANNEX
GRND82 arquitectura e interiorismo Sergi Serrat arquitecte Bailen 28 2º 1ª 08005 Barcelona T +34 93 486 36 58 sergi@granada82.com www.granada82.com
To whom it may concern: I had the opportunity of working with Mariana Santana as her studio instructor during her fall 2009 semester abroad in Barcelona, part of an exchange program through the Escola Superior d’Arquitectura del Vallès (ETSAV‐UPC) Our studio focused on post‐industrial landscapes in Barcelona, specifically at old Sant Adrià’s powersation and the surrounding area. We proposed the recovery of this area of the city through a mixture of cultural and residential programs. In addition, we required a special focus on a particular program; that of a Museum of Energy and a Space for Artistic Creation for the city. Students worked in a dense and complex educational environment. They were divided into groups of 2‐3 students and each group was given a particular case study to study and apply to their projects. First the students developed a general master plan, compatible with the existing industrial activities at the water’s edge and connecting the remote powerstation to the vibrant new expansions of the city and the new urban parks being built. Secondly, we asked them to focus on the specific program (MEECA), requiring them to fully develop a difficult program on the waterfront of the city. Finally, we asked the students to define in constructive details and axonometric, the main section of the building. Mariana distinguished herself from the rest of the students in many ways: Leadership: Mariana was a natural leader of the group this past semester. With her hard work and leadership skills, she pushed the group to achieve the stringent requirements that were asked of them. Character: Mariana has been an active participant in the studio course throughout the semester, seeking intense discussion with her teammates and teachers to help improve her design skills, her technical skills, and the overall quality of her work. Persistent effort: From the first day, Mariana has attended class in an active way, bringing new proposals every day in response to feedback from the previous class. Her diligence allowed her to fully develop through all the objectives of the course and to leave it a stronger and more well‐developed student. Adaptability: Mariana took on the added challenge of studying abroad for a semester in Barcelona, Spain. This experience necessitated that she adjust to a new culture, language, and lifestyle. While other students struggled with these adjustments, Mariana embraced the changes without allowing her work to suffer. It also provided her the opportunity to travel to London with the rest of the group and to see contemporary art and architecture first‐hand, which she fully embraced and drew up in her work. In closing, I would highly recommend Mariana. Her ability to embrace change; focus her attention and effort; draw upon inspiration; work as a leading team player and execute quality work makes her an excellent candidate for advanced study in our field or to incorporate herself in any professional office. Barcelona, March 4, 2012 Sergi Serrat, architect and advanced studio instructor
“The important thing is to construct space for possibilities and the result of these possibilities are a lot more fun than you would have expected.�
Ai Weiwei
Mariana Santana www.marianasantana.com.pt marianapcrs@gmail.com +351 91 9619528