WORK SAMPLES
TOMAS PALMARES ARCHITECT
tspalmares@gmail.com +351 913 677 111
RECOMMENDATION LETTER
SEP 2012
LEFT ELEMENTAL / AA
SEP 2011
HIRED AT ELEMENTAL / AA
JUN 2011
JOINED
check it out on issuu
ELEMENTAL / ALEJANDRO ARAVENA JAN 2011
COMPLETED MA ARCHITECTURE UTL
DEC 2010
MERIT SCHOLARSHIP FOR ACADEMIC PERFORMANCE UTL
SEP 2008
STUDENT EXCHANGE FAKULTETA ZA ARHITEKTURO (LJUBLJANA SLOVENIA)
SEP 2005
STARTED BA ARCHITECTURE UNIVERSIDADE TECNICA DE LISBOA
JUL 1987
PORTUGUESE
BORN IN LISBON
NATIVE
ENGLISH
FLUENT
SPANISH MODELING AUTOCAD
GOOD VERY GOOD
SKETCHUP KERKYTEA PHOTOSHOP INDESIGN ILLUSTRATOR PANO 2 VR ECOTECT OFFICE WINDOWS MACINTOSH
BASIC
PROFESSIONAL SCHOOL IN LAMPA
7
SANTIAGO CHILE 2011
TEHRAN STOCK EXCHANGE
9
TEHRAN IRAN 2012
3M INNOVATION CENTER
11
SANTIAGO CHILE 2012
LINEAR PARK
13
CALAMA CHILE 2012
CAFETERIA
15
SANTIAGO CHILE 2012
VENICE BIENNALE VENICE ITALY 2012
17
+
+
ACADEMIC
ARTIST RESIDENCE LISBON PORTUGAL 2009-10
19
VIEW OF THE SCHOOL ENTRANCE
6
SCHOOL TYPOLOGY
IN
LAMPA
SCHOOL 7.500m2 1200 students
CLIENT
ASTORECA FOUNDATION
COLLABORATION
CONCEPT DESIGN ARCHITECTURAL DRAWINGS 3D MODEL, RENDERS, PRESENTATIONS, MEETINGS WITH CLIENT & MUNICIPALITY JUN-DEC 2011
Until a few years ago Lampa was a rural area. Soon after being converted into an urban one, social housing neighborhoods started to spread (population grew 60.7% between 1992 and 2002) due to the cheap price of the area and its proximity to Santiago. Nowadays it is one of the poorest communes in Chile with one of the lowest levels of academic achievement. For this reason the Astoreca Foundation decided to build a school there, according to the KIPP (knowledge is power program) principles.
LAMPA
30km
SANTIAGO
7
EXPLODED AXONOMETRY OF THE BUILDING
EXTERIOR WALL OF CONCRETE PERFORATED BLOCKS TERRACE
LIGHT WELL STOCKEXCHANGE OFFICES TYPICAL FLOOR
COMMON AREAS: PRAYING ROOM TEA HOUSE CANTINE
INDEPENDENT OFFICES
ENTRANCE INDEPENDENT OFFICES ENTRANCE HALL MEZZANINE
ENTRANCE HALL STOCKECHANGE MEZZANINE PARKING ACCESS ENTRANCE STOCKEXCHANGE
CONFERENCE HALL 200 SEATS STOCKECHANGE HALL
SPORTS FACILITIES STORAGE
DATA CENTER
UNDERGROUND PARKING 300 SPACES
8
1ST
PRIZE
STOCK EXCHANGE TYPOLOGY
STOCK EXCHANGE BUILDING 30.000m2
CLIENT
IRANIAN GOVERNMENT
COLLABORATION
CONCEPT DESIGN ARCHITECTURAL DRAWINGS
check it out in archdaily
3D MODEL RENDERS & FINAL PRESENTATION JUN-JUL 2012
The Physical Development Research Center organized a competition between 29 top architecture firms, later narrowed down to eight after a RFQ process, who each worked with a local Iranian firm. In a country experiencing a very unique economic moment, the brief of the competition aimed to challenge the typology of the stock exchange in general, as well as factors that could alter this type to address cultural factors specific to its location. Thus, the firms were asked to look at how this program has developed throughout history while also undertaking a thorough analysis of the specifities of this project.
STOCK EXCHANGE
TEHRAN
9
SECCTION ACROSS THE MAIN HALL
10
INNOVATION CENTER TYPOLOGY
OFFICE & LAB BUILDING 2500M2
CLIENT
3M COMPANY
COLLABORATION
CONCEPT DESIGN ARCHITECTURAL DRAWINGS 3D MODEL RENDERS & FINAL PRESENTATION MAY-JUN 2012
The 3M company were looking to expand in Chile. The current office building in Santiago projected an image on the city that was not the desired by the brand. Together with this there was the intention of building an Innovation Center for research and development of new products and applications. Alejandro Aravena and 3 other firms were selected by 3M make their proposals.
MAPOCHO RIVER
3M SANTIAGO
11
BEFORE
AFTER
12
LINEAR PARK TYPOLOGY
URBAN PARK 5.6KM 20HA
CLIENT
CODELCO MINING COMPANY
COLLABORATION
CONCEPT DESIGN ARCHITECTURAL DRAWINGS
check out the park in elemental
RENDERS PRESENTATIONS MAR-APR 2012
As a compensation for the negative environmental impact the Codelco mines have on Calama, several projects were developed for the city and its inhabitants. One of the most important was the linear park, a significant green area in a city surrounded by desert. The project had two main goals: 1 - define a clear urban limit and 2 - protect the northern part of the city from the extreme desert climate. The whole design process was constantly informed by meetings with the affected populations and with the political/economical agents involved.
LINEAR PARK
LOA RIVER
CALAMA
13
INSTAPANEL PV-6 ELECTROPAINTED EXISTING ][ BEAM 220X600mm
STEEL BOARD 5mm PAINTED BLACK (2% SLOPE)
PROJECTION OF THE WINDOW STUCTURE
POLICARBONATE 300X1000mm 6mm
STEEL BOARD 5mm PAINTED BLACK
METAL TUBE 50X20mm METAL TUBE 100X100mm
0 10
14
50
100 cm
WINDOW DETAIL
CAFETERIA
check out the park in vimeo
TYPOLOGY
CAFETERIA 120m2
CLIENT
SANTIAGO METROPOLITAN PARK
COLLABORATION
CONSTRUCTION DOCUMENTS FEB 2012
This project is inserted in the Bicentennial Children’s park, which was recently completed. Due to cost control it was necessary to change several aspects of the design of the cafeteria before delivering the construction documents.
SAN CRISTOBAL HILL
PARK
MAPOCHO RIVER
SANTIAGO
15
© NICO SAIEH © NICO SAIEH
16
open
AUG 29TH to
NOV 25TH
VENICE BIENNALE or check it out in archdaily I TYPOLOGY
EXHIBITION
CLIENT
VENICE BIENNALE
OBJECT
COLLABORATION
MONTAGE OF THE EXHIBITION
or in archdaily II or in youtube
AUG 2012
“Chile is facing a big challenge, as the income has tripled in less than a decade, yet inequalities have remained intact. This is creating popular discontent that is accumulating pressure like a social time bomb. Equally, in order to maintain growth and remain competitive at a global level, the country must attract and retain knowledge creators. Presented here are the projects where architects were required to respond to these profound dilemmas.”
GIARDINI’S CENTRAL PAVILION
17
INTERVENTION AREA Ĺ CHOSEN SITE Ļ
AJUDA PALACE (1795)
5.000 m2
GALO TOWER (1761)
AJUDA PALACE (1795)
18
N
ARTIST RESIDENCE TYPOLOGY
HYBRID BUILDING 6.200M2
INSTITUTION
TECHNICAL UNIVERSITY LISBON JAN 2010-JUL 2011
The problem posed by the thesis counselor was to design a building on a significant site of the surroundings of the Ajuda Palace, which set the tone of the area nowadays, due to never being completed. The building should be sensitive to its historical context: a townscape with heritage value; to its city context: a part of Lisbon with a clearly defined as a culture/museum oriented area; and finally, to it’s social context: the social inequities caused by the existence of two social social housing neighborhoods.
AJUDA
LISBON
19
CASELAS NEIGHBORHOOD
CARAMÃO NEIGHBORHOOD
AJUDA NEIGHBORHOOD
2 DE MAIO NEIGHBORHOOD CASALINHO NEIGHBORHOOD
AJUDA PALACE
BOTANICAL GARDEN
PLANETARIUM
NATIONAL COACHMUSEUM
JERONIMOS MONASTERY
NAVY MUSEUM NEW NATIONAL COACH MUSEUM
C.C.B.
ELECTRICITY MUSEUM
INTERVENTION AREA NOTABLE ELEMENTS
BELÉM TOWER
20
0 50
250
500 m
N
SOCIAL EXCLUSION
LACK OF PERSONAL & SOCIAL SKILS
ACADEMIC INSUCCESS
DROPOUT
DELIQUENCY
DRUG TRAFFIC/CONSUMPTION
ETHNICAL CONFLICTS
C.C.B.
NEW NATIONAL COACH MUSEUM
ELECTRICITTY MUSEUM
NATIONAL COACH MUSEUM
JERÓNIMOS MONASTERY
NAVY MUSEUM
PLANETARIUM
BOTANICAL GARDEN
AJUDA PALACE
BELÉM TOWER
650.000
950.000
1.000.000
4.700.000
THE TENSION BETWEEN THE CULTURAL INSTITUTIONS AND THE SOCIAL HOUSING NEIGHBORHOODS WAS THE STARTING POINT TO DEFINE THE SITE AND WHAT KIND OF INSTITUTION WOULD HELP IMPROVE AJUDA.
CULTURAL INSTITUTIONS SOCIAL HOUSING
21
TATE MODERN
SKYLIGHT
EXISTING TOWER SKYLIGHT
EXHIBITION GALLERY AUDITORIUM WHITE BOX
PUBLIC PLAZA
PUBLIC LIBRARY
ARTIST COURTYARD
EXHIBITION GALLERY EXISTING HOUSING CONVERTED INTO ARTIST RESIDENCES
BLACK BOX
EXISTING CAFE
STREET LEVEL
ARTIST STUDY WORKSPACES LARGE ARTIST ENTRANCE
PATIOS
REHEARSALS
WORKSPACES SMALL
TOWER FOOTPRINT
UNLOADING
N
22
UNDERGROUND
INSTITUTION* The analysis provided clear criteria to define what kind of institution would be good for the place. An institution that dealt simultaneosly with culture and community. It should no be an estatic museum but instead a lively cultural building, proposing interaction with people. An institution not only city-oriented, like the other museums in the area, but also community oriented. It should be a more informal arts space, so people don’t feel alienated, but integrated. One institution that seemed to fill these requirements was the Artist Residence. Yet there are several types of artists residences, which one would be more appropriate?: *INSTITUTION in Kahn’s sense of the word
LOCAL
FOREIGN ARTISTS BY AN INSTITUTION ORIENTED TO: PRODUCTION
SELF-MANAGED
SOCIAL PROJECTS
EXHIBITIONS
ARTIST’S STAY: 1 YEAR > 3 MONTHS > 2 WEEKS LEISURE HOUSING
INVESTIGATION
SOCIALLY INTERVENTIVE 1 FORM OF ART
WORK
PERFORMANCE RETREATED
SEVERAL FORMS OF ART
23
4
5
1
2 6
3 1
7
1
6
8
9
24
3
1
N
0
5
25
50 m
4 16
STREET 1
PUBLIC ENTRANCE
2
WHITE BOX
3
EXHIBITION GALLERY
4
AUDITORIUM
5
PUBLIC LIBRARY
6
WC
7
PUBLIC PLAZA
8
BLACK BOX
9
SERVICE
21 2
21 13 12
17
UNDERGROUND LEVEL
11
11
15
10 ARTIST ENTRANCE 11
17
10
ADMINISTRATION
12 CIRCULATION
17
11
17
17
17
13 ARTIST STUDY 14 CHANGING ROOM
19
15 WC 16 STORAGE
20
17 WORKSPACES
17
18 REHEARSALS 19 ARTIST COURTYARD
17
17
17
17
20 ARTIST PATIOS 21 CHANGING ROOMS 22 UNLOADING
17 20 17
17
17
17
17
20 16
17
15 18 16
16
12
21
8 21
22
25
2
1
0
5
25
50 m
8 9
0
26
5
25
50 m
7 10
6 3
4
5
SECTION ACROSS THE ARTIST PATIOS AND EXISTING TOWER
8 11
13
1
UNLOADING
2
EXISTING TOWER
3
WORKSPACE
4
ARTIST PATIO
5
ARTIST STUDY
6
LIBRARY
14
12
SECTION ACROSS THE ARTIST COURTYARD 7
BLACKBOX
8
EXHIBITION GALLERY
9
CIRCULATION
10
REHEARSAL
11
ARTIST COURTYARD
12
WORSPACE
13
WHITE BOX
14
AUDITORIUM
27
30
31
TOMAS PALMARES tspalmares@gmail.com +351 913 677 111