Pedro Camara | Architect | Selected Work(d)s

P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P 1H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E P E D R O S S C A M A R A H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U A R C H I T E C T B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S S E L E C T E D E W O R K (D) S S M P R O G R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X

2

SELECTED WORDS Architecture is not only about drawings and models.

Architecture is also about words.

The projects in this book are a result of the use and repetition of a number of words through conversations, drawings, readings, models, operations, collages, discussions, crisis, constrains, ideologies, empathy, desires, epiphanies and constructions.

3

INDEX 10

CARVING THE UNDERGROUND JBMC Arquitetura&Urbanismo 2011-2012

18

COLOR FIBONACCI JBMC Arquitetura&Urbanismo 2012

30

SENSIBLE SUNLIGHT Lussi+Halter AG 2010

36

THE EYE TOWER Film Art Director 2010

42

URBAN SURGERIES Architectus 2008

50

THE MOUNTAIN critics: Steven Holl / Dimitra Tsachrelia Spring 2014

58

DYNAMIC ENVELOPE Architectural Competition [AC-CA] 2012

158

KNOWLEDGE BLENDER critic: Bernard Tschumi Fall 2013

80

FOUNTAIN MARKET Architectural Competition [AC-CA] 2012

164

MEGAMINISTRUCTURE Archiprix Workshop 2012

170

SERPENTINE URBANISM Architectural Competition | Working experience at Architectus 2009

176

NECESSARY ARCHITECTURE critics: Kersten Geers / Andrea Zanderigo Summer 2013

102

SCREENHEADS critics: Michael Rock / Oana Stanescu Fall 2013

118

CONCRETE IN-TENSIONS critic: Keith Kaseman Spring 2014

132

SUSPENDED TOPOGRAPHY Bachelor’s Graduation Project 2009

146

ACADEMIC

PROGRAMMATIC BOXES JBMC Arquitetura&Urbanismo 2013

COMPETITIONS

4

PROFESSIONAL

RESUME

4

PROJECTS EVENTS

5

NORTH AMERICA 1 WORKSHOP PARTICIPANT “FUTURE NEW YORK”_MIT 2011 | Boston, USA 2 MEGAMINISTRUCTURE_ARCHIPRIX 2011 | New York, USA 3 NECESSARY ARCHITECTURE_GSAPP 2013 | New York, USA 4 KNOWLEDGE BLENDER_GSAPP 2013 | New York, USA 5 M.S. ADV. ARCHITECTURAL DESIGN _GSAPP - Columbia University 2014 | New York, USA

SOUTH AMERICA 6

GRAFLORESTA CULTURAL CENTER 2007 | Guaramiranga, BRAZIL

7

DESIGN STORE “HOME” 2008 | Fortaleza, BRAZIL

8

MUSEUM OF THE PARK_UNDERG. 2009 | Fortaleza, BRAZIL

9

BACHELOR of Architecture&Urbanism _honors cum laude 2009 | Federal University of Ceara

10

INSTITUE OF THE SEA 2009 | Fortaleza, BRAZIL

11 BEIRA-MAR PARK_COMPETITION 2009 | Fortaleza, BRAZIL 12 SIX CENTRAL SQUARES_COMPETITION 2009-10 | Crato, BRAZIL 13 URBAN REQUALIFICATION “SEMINARIO” NEIGHBORHOOD_COMPETITION 2009 | Crato, BRAZIL

14 FLORICULTURE SCHOOL 2010 | Aratuba, BRAZIL 15 Brejo Santo Exhibition Park 2010-11 | Brejo Santo, BRAZIL 16 Ceara Exhibition Park 2010 | Fortaleza, BRAZIL 17 FOUR PAVILIONS - CEASA 2010 | Barbalha, BRAZIL 18 MARINE PASSENGER TERMINAL NATAL 2010-11 | Natal, BRAZIL 19 MARINE PASSENGER TERMINAL FORT. 2010 | Fortaleza, BRAZIL 20 PORT OF BOATS HISTORIC CENTER _COMPETITION 2010 | Parnaiba, BRAZIL 21 OLYMPIC PORT_COMPETITION 2011 | Rio de Janeiro, BRAZIL 22 MULTIUSE BUILDING_FAU-USP 2011 | Sao Paulo, BRAZIL

27 WORSHOP ASSISTANT URBAN DESIGN STUDIO_GSAPP 2012 | Sao Paulo, BRAZIL 28 SESC LEISURE CENTER 2013 | Ribeirao Preto, BRAZIL 29 THE MOUNTAIN_GSAPP 2014 | Bogota, COLOMBIA

EUROPE 30 ONE YEAR EXCHANGE_FAUP 2006-07 | Porto, PORTUGAL 31 MULTI-USE BUILDING_FAUP 2007 | Porto, PORTUGAL 32 TWO-MONTHS ALLIANCE FRANCAISE 2011 | Paris, FRANCE 33 SBB HEADQUARTERS 2011 | Bern, SWITZERLAND 34 PROJECT PRESENTER WAF BARCELONA_R. BRAGA TOWER 2011 | Barcelona, SPAIN

AFRICA

23 URUGUAI METRO STATION 2011 | Rio de Janeiro, BRAZIL

35 A HOUSE IN LUANDA_COMPETITION 2010 | Luanda, ANGOLA

24 WORKSHOP ASSISTANT “ARCHITECTURE FOR ALL: BUILDING CITIZENSHIP_9th Int. Biennial 2011 | Sao Paulo

36 FOUNTAIN MARKET_COMPETITION 2012 | Casablanca, MOROCCO

25 LINE 4: FOUR METRO STATIONS 2011-12 | Rio de Janeiro, BRAZIL

26 SUMMER HOUSE PARACURU 2012 | Paracuru, BRAZIL

37 XIN GARAGE TOWER_COMPETITION 2012 | Hong Kong, CHINA

ASIA

6

RESUME

PEDRO CAMARA

Architectus S/A November 2010 to May 2011 | July 2009 to

academic experience

Lussi + Halter Partner AG October 2010

+1 347 735 1111 | pedrocamaracf@gmail.com

Columbia University, Master of Science in Advanced Architectural Design [Honor Award for Excellence in Design] 2013-2014 CRITICS: Steven Holl, Bernard Tschumi, Kersten Geers.

Graduate School of Architecture, Planning and Preservation (USA)

University of Sao Paulo, Architectural Project Module | Master in Arch. 2011 Faculty of Architecture and Urbanism (BRAZIL)

Federal University of Ceará, Bachelor of Architecture and Urbanism [Honors cum Laude] 2003-2009 Architecture and Urbanism School [honors cum laude] (BRAZIL)

Porto University, One year exchange program 2006/2007 Faculty of Architecture and Urbanism of Porto (PORTUGAL)

University of Fortaleza, One year of studies in visual communications 2003

August 2010 Project Architect | Project Leader of Porto Olimpico Architectural Competition (Rio), Cariri State Supply Center (Barbalha) and National competition for Reordering of Beira-mar Park (Fortaleza, 2nd place).

Architect | Responsible for physical model and Design Drawings of SSB (Swiss Federal Railway) Company Headquarters (Bern, Switzerland)

Architectus S/A August 2008 to August 2009 Intern | Project Leader of competition (1st place) and project for Requalification of Central Squares of Crato city; Project Leader of Design Store “Home” (Fortaleza).

Regis Freire Arquitetura e Urbanismo August 2007 to July 2008 Intern | Responsible for developping drawings, 3d models, images and graphic design of a presentation booklet for the project of a Cultural Complex (Guaramiranga) Funcap August 2005 to December 2005 Bursary | Research Lab - Project: “Locally Driven Prefrab Social Housing Units”. Research on materials and constructive techniques for a house prototype.

David + Feijo Graphic Design January 2005 to August 2005

Intern | Development of visual identity: posters, books, product cases.

Faculty of Visual Communications (BRAZIL)

PROFESSIONAL Experience Columbia University | Graduate School of Architecture Planning and Preservation June 2014 - August 2014

competitions 2013 SESC Leisure Center

Associate in Architecture | Teaching Assistant for the Summer Studio “Megablock Urbanism” - Prof. Jeffrey Johnson

Ribeirao Preto, Brazil

JBMC Arquitetura & Urbanismo June 2011 - May 2013

2012

Project Architect | Project Leader of Line 4 - 4 Metro Stations in Rio. Project Leader of SESC Leisure Center (R. Preto); Responsible for chromatic project of Uruguai Metro Station (Rio); Responsible for managing the Department of Awards and Publications.

2012 Xin Garage Tower AC-CA Architectural Competition Hong Kong, China

Fountain Market AC-CA Architectural Competition

Casablanca, Morocco

2011 Olympic Port International Competition Rio de Janeiro, Brazil

PEDRO CAMARA

2010 Museum of Natural Environment Competition Rio de Janeiro, Brazil

2010 A house in Luanda Luanda, Angola (organized by Lisbon Architecture Triennale)

2010 Revitalization of the Historic Center of Port of Boats Parnaiba, Brazil

2009

National Competition Reordering Beira Mar Park

Fortaleza, Brazil

2009 Green Shopping Cart 7th Prize for Innovation in Aluminium (Alcoa)

2009 Urban Rqualification of “Seminario” Neighborhood Crato, Brazil

2009 Requalification of six squares of Crato Crato, Brazil

awards and recognitions 2014 Honor Award for Excellence in Design

2009 Honors Student Universidade Federal do Ceara

2006 Selected

Project “City-Avenue” at the Exhibition “Dreaming about Fortaleza”

softwareS Autocad, Rhino, Vectorworks, SketchUp, V-ray, Adobe Photoshop, Adobe Indesign, Adobe Illustrator, Adobe Premiere, Adobe After Effects, Microsoft Word, Microsoft Excel, Microsoft Powerpoint.

languages Portuguese (native), English (FLUENT: comprehension, oral and writing; TOEFL 102), French (FLUENT: comprehension, oral and writing; DELF B2), Spanish (FLUENT: comprehension and oral)

Columbia Univerisity - GSAPP - MSAAD

WORKSHOPS

Columbia Univerisity - GSAPP - MSAAD

2012 Workshop Assistant

2014 Graphic Events Award for Best Portfolios 2014 Selected

Abstract GSAPP Publication - Spring 2014_Concrete Procedures

2013 Selected

Abstract GSAPP Publication - 2013 Fall_Advanced Studio

2012 Selected

16th Tiradentes Film Festival - “Torre dos Olhos” (film art director)

Columbia University MSAUD - Urban Design Studio III

2011 Workshop Assistant

Architecture for All: Building Citizenship - 9th Sao Paulo Int. Biennial

2011 Workshop Participant

Archiprix Workshop at MIT - “Future New York”

WAF 2011 “Rubem Braga Elevator Tower”

ART & DESIGN

Archiprix World Best Graduation Projects

2010 Art Director

2011 Awarded Highly Commended 2011 Selected Participant

2009 Selected Participant

Opera Prima National Competition Graduation Projects 2010 1st place Architectural Competition Revitalization of the Historic Center of Port of Boats - Parnaiba 2009 1st place Architectural Competition Requalification of six squares in the city of Crato

2009 2nd place Architectural Competition Beira-mar Avenue Architectural Competition

Short film “Torre dos Olhos” (The Eye Tower)

2010 Photographer

Photography Exhibition “Travelers” - Art Galery Mariana Furlani

2006 Website Editor

Architectural website FORMA ARQUITETURA.

2005 Graphic Designer

Graphic Design of the Music Magazine “Gerador”

2004 Scenographer

Play: ”Jim Knopf and the Train Driver” - Fortaleza 6th Book Biennial

7

8

9

PROFESSIONAL WORKS

10

PROFESSIONAL WORKS

SELECTED WORDS: PROGRAMMATIC BOXES POROSITY CITY IN-SITE

PEDRO CAMARA

PROGRAMMATIC BOXES project SESC LEISURE CENTER location Ribeirao Preto, Brazil date 2012

The program (Sport, Pedagogical, Theather Restaurant, Cultural) is organized in blocks placed around and above a central plaza in a portion of the site that becomes an extension of the city. Several spaces for gathering and leisure were created in between the boxes, reinforcing wind flows, generating shadowed areas and diversifying views; Circulation connectors and green roofs operate as open spaces to the building’s interiors and to the city.

Project Coordinator | Concept | desing drawings | 3d model

11

12

PROFESSIONAL WORKS

to bring the sidewalk inside the site

PEDRO CAMARA

+94.55

+98.08

+100.65

+104.15

+107.65

+114.65

+122.13

+125.73

+137.79

13

14

PROFESSIONAL WORKS

gardens between boxes

Program?

Access

Vertical Push

circulation

Horizontal push

green areas

All blocks have exposed structures and off-setted walls protected by a ceramic brise-soleil on the facades.

PEDRO CAMARA

Roof gardens are transition spaces for outdoor events

The programmatic boixes are connected by a vertical circulation core and a system of open corridors.

15

16

PROFESSIONAL WORKS

PEDRO CAMARA

The building is organized around a void that is the extension of the public sidewalk. This void becomes a public square for collective activities and spectacles.

17

18

PROFESSIONAL WORKS

SELECTED WORDS: UNDERGROUND SPACE BETWEEN CONSTRAINS INFLECTIONS

PEDRO CAMARA

CARVING UNDERGROUND project LINE 4: 4 METRO STATIONS location Rio de Janeiro, Brazil date 2011-2012

Coordinating the line 4 project meant managing series of technical information and drawings of the railway line, ventilation system, structural method, technical rooms, installations and safety legislation. The location and the programmatic constrains composed a rigid framework where each space and element had its purpose in the project. Architecture role was limited to carve the functional organization and manipulate the gap between the restrictions in order to create spatial quality out of the technical limitations.

Project Architect | Responsible for leading a team of architects and interns | Responsible for managing consultants, associate firms and client

19

20

PROFESSIONAL WORKS

architecture from constrains

GÁVEA METRO STATION

ANTERO DE QUENTAL METRO STATION

JARD METR

DIM DE ALAH RO STATION

PEDRO CAMARA

Ventilation towers: mirror walls dissolve the impact of ventilation structures in the existing urban landscape

N. SRA. DA PAZ METRO STATION

21

22

PROFESSIONAL WORKS

n.senhora da paz Metro Station

PEDRO CAMARA

mezzanine

platform

detail skylight built-in the floor

23

24

PROFESSIONAL WORKS

jardim de alah Metro Station

PEDRO CAMARA

mezzanine

platform

detail pannel

25

26

PROFESSIONAL WORKS

antero de quental Metro Station

PEDRO CAMARA

mezzanine

platform

detail bench-skylight

27

28

PROFESSIONAL WORKS

gavea

Metro Station

PEDRO CAMARA

mezzanine

platform

PLANTA CHAVE SEM ESCALA

detail bench-skylight

29

30

PROFESSIONAL WORKS

SELECTED WORDS: FIBONACCI THE COLORS OF RIO RYTHM

PEDRO CAMARA

COLOR FIBONACCI project URUGUAI METRO STATION location Rio de Janeiro, Brazil date 2011

The chromatic project for the Uruguai Metro Station in Rio de Janeiro used doubly the fibonacci sequence as a way to produce a gradation from green to blue. The gradation represents the connexion between the two strongest elements in Rio’s landscape: the Atlantic Ocean and the Mata Atlantica Forest. Initially, the fibonacci sequence was used to increase the values of R, G and B, generating 12 colorful metallic panels with different tons of blue and green.

The mathematical serie was used also to organize the sequence of the pannels, creating a smooth progression of color along the station. *design drawings | concept of color project

31

32

PROFESSIONAL WORKS

Platform, Mezaninne and Groundlevel plans | Section

PEDRO CAMARA

Pantone color palette and Uruguai Metro Station under constrution

33

34

PROFESSIONAL WORKS

Detail metallic panel

PEDRO CAMARA

Uruguai Metro Station in operation

35

36

PROFESSIONAL WORKS

SELECTED WORDS: COLOR SUNLIGHT SENSIBLE BRISES

PEDRO CAMARA

SUNLIGHT SENSIBLE project SBB COMPANY HEADQUARTERS location Bern, Switzerland date 2010

The project sets a visible marker for the cultural change within the headquarters of the SBB - Swiss Federal Highway. The building facades are made of coloured, mobile glass louvres that give the building a different appearance depending on the position of the sun.

Physical model | drawings

37

38

Night and morning view

39

SBB Main Hall: physical model

40

SBB Main Hall_built | SBB Main Hall_physical model

41

SBB built

42

PROFESSIONAL WORKS

SELECTED WORDS: ESCAPING FROM CITY WATCHING THE CITY DISCOVERING THE CITY

PEDRO CAMARA

THE EYE TOWER project THE EYE TOWER [Selected_16th Tiradentes Film Festival] location Fortaleza, Brazil date 2008

The Eye Tower is a narration of three characters that are all a representation of meanings and faces a city can have.

Isis is the incorporation of a relation of conflict with the city. She tries to escape from the city, but ineavitablely belongs to it by memory. Elisa represents the festival of scenes, lights and colors a city carries behind its bannal urban elements. Tiao is the Eye Tower, voyeurism and surveillance, the infinite number of possibilities that a city offers for two anonymous people to meet and connect.

ART DIRECTOR

43

44

PROFESSIONAL WORKS

the city is a performance of lights. you just need to turn on the sound to listen to its music.

PEDRO CAMARA

45

46

PROFESSIONAL WORKS

the city is a big tattoo engraved in your back. even if you pretend to not look at it, the city is inescapabaly in you. even if you feel you don’t belong to the city, the city belongs to you.

PEDRO CAMARA

47

48

PROFESSIONAL WORKS

the city is a guy inside a suspended blue box watching and filming daily life. you realize the city is in love with you and ask: “why don’t you come down over here?”

PEDRO CAMARA

49

50

PROFESSIONAL WORKS

SELECTED WORDS: PEDESTRIAN CIRCUIT ARCHITECTURE FOR PEOPLE CONTEXT

PEDRO CAMARA

URBAN SURGERIES project SIX CENTRAL SQUARES IN CRATO [1st place] location Crato, Brazil date 2008

The requalification of the six most important squares in the center of the city of Crato was structured on the idea of creating a pedestrian circuit connecting the six public spaces through a “pedestrian master plan” and a group of urban surgeries that improve accessibility and spaces for recreation and events. The squares were recuperated or reformulated according with their main use (sports, contemplation, commerce) and historical value. Crato’s public spaces identity was highlighted through new furniture and landscape design proposal.

Project COORDINATOR | Concept and development of project until Executive phase

51

52

6 central squares of Crato

53

Siqueira Campos Square | Parlor

54

Praca da Se | Game Table

55

Alexandre Arraes Square | Bench

56

57

ACADEMIC WORKS

58

ACADEMIC WORKS

SELECTED WORDS: DRAWING ORBITS PLANAR AMBIGUITY

PEDRO CAMARA

THE MOUNTAIN The Mountain materializes the concept of Planar Ambiguity and the idea that you never understand a totality of the things because you are part of this totallity. “You don’t know the real mountain, because you are in the mountain yourself”.

course ADV. STUDIO LANGUAGE: STRUCTURE / LIGHT critic STEVEN HOLL DIMITRA TSACHRELIA semester SPRING 2014 in collaboration with Miao Wei

Language can be expressed through a poem or space. Our architectural language started with an abstract drawing: the simple idea of a dialogue between a square and circle. In the drawing, orbits wandered tangentially and around straight lines.

The site, in the National University of Colombia in Bogota, revealed also a system of orbits. The building engaged one of the orbits to anchor in the site. A sphere was used to create void spaces and turn the bidimensionality of the abstract drawing into the building. The Mountain is also a Sun Dial. The pool registers the shadows of Bogota as a force.

From the solid volume, two galleriesplanar elements bring the idea of orbit as movement. The two planes are charged with thickness and thickness becomes space. In between the planes, the orbitgallery is inhabited with introspective light.

The space inside the orbit receives the strong equatorial vertical light of Bogota that compress the ground with punchlight.

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Hurva Synagogue (Louis I. Kahn) and Sidney Opera House (Jorn Utzon)

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introspective | expansion

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From the square to the circle

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The drawing is an abstract choreography from the circle to the square.

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planar ambiguity

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sphere as void

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Midterm Model

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orbits

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Solstice June

Solstice December

Shadow as a force

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The drawing engages the site through one of its orbits

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Auditorium Amphitheater Workshop Forum Collaborative Circle Administration Library / Introspective Cells Cafe Kitchen Underground Level

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1 2 3 4 5 6 7

Reception / Info Exhibition / film Garden Punch-Light Orbit-Gallery Gallery Amphitheater Restaurant

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Groundlevel

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1 2

1 Orbit-Gallery 2 Exhibition Section Upper Level

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1 2 3 4 5 Interior

Auditorium Reception / info Exhibition / film Classroom Exhibition

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SELECTED WORDS: DISTRACTION CRITICAL PARANOIA UNFOLDED CELESTIAL CUBE

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KNOWLEDGE BLENDER course ADV. STUDIO V CONCEPT AND NOTATION critic BERNARD TSCHUMI semester FALL 2013

The knowledge blender is a spatial response to the theme “education� and takes the unfolded version of an astronomic diagram - the celestial cube - as a device to produce a space where people is induced into a state of critical-paranoia to catalyze the invention of facts and theories as result of the agglomeration of experiences and information. The building is the superposition of three elements: learning windows (educational spaces); shortcuts (functional circulations); and a circuit (an architectural promenade). The given site, a box, was unfolded and used for the conception of those three layers. After, they were submitted to a folding operation that generates the subversion of the layers according with their different properties.

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short intro exercise I:

astronomy as a source for notation in architecture

New National Gallery | Mies van der Rohe + celestial maps notation

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MOMENTUM

SEMITA I

UNIVERSI

SEMITA II

STRUCTURA

SEMITA III

DIAPHANUM

IMPERUM

NIHIL

URBEM

This system was used as a base to build 10 different “constellations” approaching spatial, political, architectural and metaphysical conditions and interpretations of Mies’s Museum.

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short intro exercice 2:

celestial cube notation

the celestial cube was used for building a space where circulation takes the visitor through four different frames where the same space is perceived in four different ways.

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booklet

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EDUCATION:

distraction

unfolded celestial cube

NOTATION 1:

NOTATION 2:

formula 1

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The knowledge blender materializes the constant state of distraction we live today.

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1

The constraints for the project were not a lot.

A virtual box is given with maximum measures (200 x 100 x 90 feet). We decided to unfold this box.

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The unfolded box.

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The internal boundaries of the unfolded box, the witnesses of the unfolding operation, were erased.

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The result is an unfolded imaginary “cross” plan site...

unfolding Mies and Palladio Two buildings were submitted to the folding operation to test its validity: Palladio’s Villa Rotonda and Mies van der Rohe’s Country Brick House.

In Villa Rotonda, the plans became sections. The walls were turned in slabs. The entry Stairs arrived in the rooftop.

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...where the project was made and when finished folded again.

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folded box.

In Mies Brick House, windows were transformed in skylights and the space preserved the richness, but in a different way.

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learning windows + shortcuts + circuit

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learning windows

shortcuts

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circuit

learning windows + shortcuts + circuit

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learning windows We submitted the unfolded project to the folding operation. Not only once, but several times. The operation generates the rotation and collision of spaces. Through the repetition of the process first intentions were subverted and created other programmatic typologies that emerged from the collisions and rotations.

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shortcuts Shortcuts passed also through the folding process but they performed according to elasticity properties. Once they are folded, instead of being attached to the paper walls they run directly in the direction of the learning windows, as constellation lines connecting nearby stars.

They gain a third dimension with the folding transforming themselves in staircases, escalators, ramps and elevators. Tall parapets and enclosure bring disorientation and fast connection, like the feeling of using the subway.

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circuit With quick turns and varying topography, the ‘circuit’ means to form promenades and pathways meant to direct and encourage users towards the ‘learning windows’.

Due to the fragmentation caused by the folding of the box, the circuit appears broken and at times discontinuous, but the resolution of these points of contention still allows the circuit to form a ribbon that scythes through the space.

Mostly confined to the periphery, as a result of the process, the circuit allows for unrestricted panoramic views of the building as you move through the space. Essentially, the promenade instills the notion of an autonomous itinerary with the constantly changing landscape allowing for a multitude of perspectives.

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catalogue of collisions and rotations

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After folding the unfolded box, the building is unfolded again. The two dimensionality of the unfolded notation open new possibilities for future abstractions.

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SELECTED WORDS: EDGE CUT NECESSARY ARCHITECTURE

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course ADV. STUDIO ARCHITECTURE WITHOUT CONTENT critic KERSTEN GEERS ANDREA ZANDERIGO semester SUMMER 2013

NECESSARY ARCHITECTURE The Data Center is the most definitive and yet invisible typology of our contemporary world. Locating 12 data centers together at Roosevelt Island was a form of exploring the potential of these big boxes. Their content is an alibi for architectural form whereas the position is integrally part of the overall project for the island.

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Headquarters Building, North PennVisiting Nurse Association 1960, Ambler, Pennsylvania.

Venturi and Short

Venturi destroys the “box”, not through spatial continuities but through circumstancial distortions

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Planes turn the back to the entry platform. They look like volumes,

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Cardboard architecture

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The building is designed from the outside to the inside

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Each of the buildings contemplates a position on the edge; the edge of the island and the edge between known and unknown. Literally, the buildings form the perimeter of the island in relation with the city proper; they mediate their Necessary Architecture, as one that is shared by many and visited by none. These immutable forms are veritable monuments of our 21st century, as they will be obsolete the very moment they will be built.

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The project for Roosevelt Island announces its very decay the day of its completion; an empty civic center.

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architecture without content: project for a data center

The building starts in the border of the island and goes until finding the turn of the road.

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The “cut shelters the building’s single programmatic need of having specific technical and circulation infrastructures.

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The openings happen only when they are necessary: offices (groundlevel) and ventilation of cooling towers (top).

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The data center has a base for humans (offices) and breaks itself in two towers: one for the hackers and other for the generators

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SELECTED WORDS: SCREENHEAD SURVEILLANCE MULTISCREENING

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SCREENHEADS course OTHER DESGIN critic MICHAEL ROCK, OANA STANESCU semester FALL 2013

“We are surrounded today, everywhere, all the time, by arrays of multiple, simultaneous images. In the streets, airports, shopping centers, and gyms, but also on our computers and television sets. The idea of a single image commanding our attention has faded away. It seems as if we need to be distracted in order to concentrate.”

Beatriz Colomina The content for the Pavilion became the driving force for the concept of the building and for creating a multiscreening experience grounded on the smooth boundary between media and architecture.

The pavilion was designed to display the story of the “Screenheads”, an extraterrestrial race living in a constant state of surveillance and voyerism.

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Screenheads are creatures with a human body and a screen in the place of the head. Their planet is very similar to the Earth and their civilization evolved practically in the same way humankind has been formed. However, a constant state of surveillance and voyeurism is necessary for the maintenance of screenheads biosphere.

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Screenheads don’t eat food. They are fed by mp4, avi, mov and other video files generated by the everyday recording of each citizen lives. They record everything. All is content. Life is constantly being registered and translated into audio image files. All kind of communication and relation happens in this social bridge between two or multiple screens.

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With passing of the last decades a strange phenomenon started to happen. The millions of content produced by this people started to overlay and reduce in quantity due to repetition. The videos have become very similar to each other. The lack of originality condensed the amount of files and generated a starvation crisis in the planet. The government decided to invest in a journey through galaxies in order to search for other forms of life that could be recorded and sent to the screenheads cloud system. The hope of finding originality and creative life in other planets became the only alternative for their future.

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It is being some days the screenheads arrived and landed in the Earth orbit. Since then, their screen-shaped spaceship blocked the vision of the moon. They are now observing and recording human activity from far away and plan to get closer soon.

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pavilion

tipical cinema room

tipical cinema room + hexagon

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pavilion audience field of view

audience movement + variation field of view

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The pavilion is located in a lower platform in the park and surrounded by slopes that transform the park in an open cinema, since the six facades of the pavilion are also screens

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Visitors can interact with the screen facades of the pavilion. It is the introduction to the “screenhead” experience

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unfolded pavilion diagram: 30 minutes of multiscreening experience

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The multiscreening pavilion provides the visitor with a set of different effects: exterior interaction, transference, attentiondistraction, kaleidoscope, mirror.

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SELECTED WORDS: GRAVITY ENCLOSURE TENSION

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course CONCRETE PROCEDURES critic KEITH KASEMANN semester SPRING 2014 in collaboration with Dora Felekou

CONCRETE IN-TENSIONS Tension, enclosure and gravity were the moving forces behind the armature.

Through experimenting with balloons and elastic enclosures, the idea of the creation of a shell came up. What happens when cement is cast inside a balloon and then modified from the inside by blowing air into a second balloon? How would a shell look like if forces were applied to both confining balloons? Concrete In-tensions is an experiment with point tension on the outside and tension on the inside.

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GRAVITY

ENCLOSURE

TENSION

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GRAVITY

ENCLOSURE

TENSION

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CONCRETE INTENSIONS PROCEDURES:

2. drill drill drill!

1. cut the wood

6. POURING TIME

7. SMALL BALOON TIME!

3. PREPARE THE metal work!

8. TIE UP AND PINCH!

9. DRYING TIME!

12. DRILL A HOLE AND...

BOOM!

13. REMOVE THE BALOON!

REVEAL INSIDE

4. PUT ON THE METAL WORK!

5. ATTACH THE BALLOON

10. DISASSEMBLE THE ARMATURE.

11. RIP THE LATEX!

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CONCRETE INTENSIONS

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SELECTED WORDS: SUSPENDED TOPOGRAPHY SINGLE SHELTER MODERNISM

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project MUSEUM OF THE PARK [Opera Prima_Selected Project] [Archiprix World Best Graduation Projects_Selected Project] critic / thesis advisor ROBERTO CASTELO date 2008-2009

SUSPENDED TOPOGRAPHY The Museum is proposed as one single shelter to diverse functions. The curve as a significant element in the building design is driven by the movement of natural topography and provides a surprising variety of views.

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a museum for the park

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The suspended topography is a single concrete shelter for the multiple activities happening in the contemporary museum

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Structural System

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Skylights happen along the structural roof system composed of waffle slabs and crossbeams

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ARCHITECTURAL COMPETITIONS

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ARCHITECTURAL COMPETITIONS

SELECTED WORDS: DYNAMIC ENVELOPE XIN (HEART) MOVING-PARKING-SLAB

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DYNAMIC ENVELOPE project XIN GARAGE TOWER ARCHITECTURAL COMPETITION [AC-CA] location Hong Kong, China date 2012

A fully automated structure composed of mechanical slabs that store vehicles by moving horizontally and vertically. The building envelope reacts to the movement of the parking-slabs. In addition to its stretching movement, the intelligent envelope also changes its color according to the citizens interaction through social media. The garage becomes the mirror of the mood of the citizens, the heart of the city.

CONCEPT AND DEVELOPMENT

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The building continuously changes its own shape by transporting the cars inside and outside the structure

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The Garage is elevated from the ground level creating a public space

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The sliding-slab system allows for different ceiling heights and alternative uses

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Restaurant

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SELECTED WORDS: WATER BUILDING AS FOUNTAIN CITY AS PATIO

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project FOUNTAIN MARKET ARCHITECTURAL COMPETITION [AC-CA] location Casablanca, Morocco date 2012

FOUNTAIN MARKET The patio and its fountain in the traditional moroccan house was the trigger for the concept of the building: a market and at the same time a big water fountain for the city.

The building is lined with water curtains that flow from the rooftop to the groundfloor and control temperature and light.

CONCEPT AND DEVELOPMENT

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ARCHITECTURAL COMPETITIONS

Patio House typology

Fountain Market

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Water re-use scheme

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The water curtain allows special lighting and video projection in the evening

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Water flows from the rooftop to the borders and fall to the floor as a skin fabric.

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SELECTED WORDS: MEGA STRUCTURE FUTURE NEWYORK FROM THE GRID TO THE UNIT

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project ARCHIPRIX WORKSHOP at MIT| FUTURE NEW YORK location New York date 2011

MEGA MINISTRUCTURE New York’s strength has come from its diversity and density, placing people from many backgrounds in close proximity to one another. This intensity of exchange is rapidly disappearing in Manhattan, where only a select few can afford to live.

MEGAMINISTRUCTURE envisions a more inclusive Manhattan while addressing rising sea levels and the disappearance of cars. The proposal capitalizes on the future city’s obsolete and flooded infrastructure as a ground for new places to live, work, and play in an ever-expanding megastructure composed of infinitely adaptable ministructures.

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From New York Grid to New York lot

Shopping in the roof Single-family housing

Floating park

Parking

Section: possibilities of use and programs.

Roof top market

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Mini-structures building mega-structures

Social housing

Housing tower

Live-work houses

Shopping on the bridge

Single-family housing

Swimming pool

Hanging houses Fishing pier

Aquarium

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SELECTED WORDS: SERPENTINE NATURE VS. URBAN SEE THE SEA

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project BEIRA-MAR PARK [National Competition - 2nd place] location Fortaleza, Brazil date 2009

SERPENTINE URBANISM Reveal the sea as the main natural element of Fortaleza’s seafront landscape, through the proposal of a linear park with a serpentine red vector (a bycicle path) that structures the space and allows the transition between the built environment and the nature.

Concept | design drawings | 3d model

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Handicraft market: the groundlevel was sloped allowing continuity to the pedestrian path

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In the axes of the streets, only small scale vegetation was allowed in order to highlight the views to the sea from the streets.

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PEDRO CAMARA +13477351111 PEDROCAMARACF@GMAIL.COM

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P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K 184 N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E P E D R O S S C A M A R A H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U A R C H I T E C T B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S S E L E C T E D E W O R K (D) S S M P R O G R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X E S C A R V I N G U N D E R G R O U N D C O L O R F I B O N A C C I T H E M O U N T A I N K N O W L E D G E B L E B L E N D E R N E C E S S A R Y A R C H I T E C T U R E S U S P E N D E D T O P O G R A P H Y D Y N A M I C E N V E L O P E F O U N T A I N M A R K E T S E R P E N T I N E U R B A N I S M P R OG R A M M A T I C B O X