WORKS
2008 -2014
URMA Ugo Ribeiro Architect DE Engineering student CV&Works 2008-2014 ugoribeiroma.com
CV
Selected works Archetype & Atmosphere The unknown Porto Consciousness : a massive mobilization for Høyblokka Nordic light Soccer training center Pavillion Cultural center XS Architecture
Magazine Qui ne dit mot consent
CV
EDUCATION 2011 to present. Engineering student (2nd year) at Ecole Centrale Lyon 2013 Jun. Master in Architecture. ENSA Lyon 2007 - 2008. Engineering student at Insa Lyon (preschool year) 2007 Jun. High school diploma in sciences WORKING EXPERIENCE 2011 to present . Co-founder and Chief editor of QNDMC. Architectural review 2011 - 2013. JCTPE Vice-President (Junior entreprise) 2013.08 - 2014.07. Architect. AtelierOslo. Oslo. Norway 2012.07 - 2012.12. Intern architect. SIDONIE JOLY Architecture&Urbanisme. Lyon. France Ugo Ribeiro Architect Engineering student 20.04.1989
2011.07 - 2011.12. Intern architect. AMALDI-NEDER Architects.
187 rue Duguesclin 69003 Lyon FRANCE
Architectes et Paysagistes. Lyon. France
+33 6 61 09 29 99 contact at ugoribeiroma dot com ugoribeiroma.com Driving Licence (Class B)
Geneva. Switzerland 2010.07 - 2010.08. Intern architect. GAUTIER+CONQUET
PRIZES 2014. Short listed for “Prix de la jeune architecture de la ville de Lyon” 2014. Short listed for the “Trophée Béton” award 2011. Exhibition “International architectural student exhibition”. Erevan 2010. Huts festival. Luxembourg. Self-built project SKILLS Pack office Autocad. Archicad. VectorWorks Photoshop. Illustrator. InDesign. Lightroom Rhinoceros. Sketchup Artlantis. Maxwell. VRay LANGUAGES French. Mother tongue English. Fluent Spanish. Good knowledge
SELECTED WORKS
The industrial area of Praille-Acacias-Vernets is very interesting for build the city of tomorrow. Three reasons allow us to think this. The first one is that the canton of Geneva owns between 70% and 80% of this industrial area. The second one is that it is now surrounded by urbanization, it is not isolated anymore. It’s now at the center of Geneva urban area. Geneva, has to integrate this place in the daily life of its inhabitants. The last point it is that Carouge, for the first time of its history, has to build on itself, which is very attractive. Carouge was built ex-nihilo and developed itself on farmland but it’s no longer possible because of the surrounding urbanization. So how can we integrate this industrial area? Which urban strategy and architecture we have to plan here?
Archetype & Atmosphere Program 150 Housing Location Geneva. Switzerland Year 2013
One of our questions is the social image given by the idea of living in an industrial area. Gilles Tiberghein explains the entropic nature of such places, in Nature, Art et Paysage. These places are unusual, we have not the habits to be there. Its mysterious atmosphere, often far from the city center, can give us news perceptions of Carouge. The urban strategy is divided in three parts and proposes a local approach to prepare housing construction. The first step is to reveal the industrial qualities in a few chosen places. The aim it’s to integrate them in the urban daily life of Geneva by assuming the industrial legacy. The first housing projects must be exemplary in regards to the local context. They have to bring a new architectural expression which will be a new archetype in the city of Carouge, symbol of a new period of its history. Three topics are the guideline of the architectural propositions: the logic of plan, architectural expression and hierarchy of structures. The logic of plan. The outdoors spaces are divided in three parts with different height and materiality. They connect the street, which is higher, to the park. The three terraces become
the main way to go from the street to the park. The ground floor plans are designed in two differents way according to their morphology. The bar’s ground floor is filled by private common spaces whereas the tower’s ground floor has a scenic space, totally transparent. The floor plans are designed on a same idea: a corridor which surrounds the housings. The corridor is either a street space or a housing space. Architectural expression. The writing of these buildings focus on the industrial archetype which is the warehouse. Almost only formal, it is used to protect resources from the outside. Its structure is composed of bearing and filling elements. When they are gathered, these layers give an ambiguous reading of the facade. The constructive reading is not obvious anymore. There is also a difference between the outside, very austere, and the inside which reveal the constructive elements. The same grid is used on the bar or on the tower. Its dimensions are three meters by three meters and it’s obviously borrowed from the warehouse structures. This shows us that a same writing, logic of the plan and constructive system can unify two different morphology. Hierarchy of structure & materialities. The project discern two structural grids, one in steel and the other in concrete. It shows the quality of these two materials by setting them on two different plans. In this way the facade is more expressive. So the building has two reading levels according to the distance where we watch it. When it has structural intentions, the material shows its structural side. Otherwise as the project wishes to use a same material in different way, when it is not structural, it shows it “esthetic” side. Finally, there is a third reading level given by all the furnitures which are made in wood.
PHASE 03 - MICRO ARCHITECTURES
EQUIPEMENTS & SERVICES
PHASE 01 - TRAITEMENTS DES SOLS PHASE 02 - INTERVENTIONS ARTISIQUES
MANIFESTATIONS CULTURELLES PHASE 04 - PREMIERS LOGEMENTS
FONCTIONNEMENT DU SITE INDUSTRIEL
LOGEMENTS
RECONVERSION DU SITE INDUSTRIEL
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a multifonctional open air space. Its atmosphere is clearly related to a cloister idea around which the program is organised.
Abandoned in a the middle of an uncommon plot, this ruin is fascinating. It looks extremely fragile because of the time which dammages it but also because of the surrounding architecture so sufocating. However this glory of the past probably once dominated its environment. This long element, built some meters above the street level, on the top of a small hill, was austere, « out of scale » and very introverted. But, despite this urban scale, the inner organisation was made by some more domestic spaces such as galleries and an interior street, both in a human scale.
Those galleries creat a architecture punctuated with various lights and an relation interior/exterior which is constantly evolving. As a threshold, these spaces lead us towards a inner domestic architecture. The south part of the project is directly related to the N14 convening the gas station atmosphere which are along the road from Porto to Braga. The whole program related to the gas station is there in order to limit the cars inside the project. The facade, totally flat, is the only element within the project which links the east and the west galleries. On the contrary, the north part is more pedestrian and connects the two galleries with the railway platform and the eastern street. The east gallery is also a way to make the link between the two plazas (on two different levels). In the meantine, the west one gives acces to the olive grove, a spiritual and hedonist space, which makes us forgot the proximity of the railways.
That is precisely this duality between urban scale and domesticity that the project try to reach both through its organisation its atmosphere. The Unknown Porto Program Service station Location Porto. Portugal Year 2014 With Alex Perret & Yan Roche
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The gallery, seems to be the obvious architectural element ables to deal with those two scales. They are made by a succession of arches. Those ones are built by assembling prefabricated concrete elements. They are on both sides of the main hall,
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Consciousness, a massive mobilization for Høyblokka
overlooked, it suffers the lack of real action. Little by little, it starts to become isolated from the planning of the rest of Oslo. While Høyblokka was a symbol of an urban regeneration, now it seems terribly remote from the urban dynamics that animate the Norwegian capital.
This dramatic fiction tells the original story of Høyblokka. Observation Høyblokka is still part of the landscape of Oslo but it no longer holds the same place. The disaster has led it to a complete silence. Høyblokka, symbol of a powerful modern architecture, has been shaken. To hide this extreme fragility, the authorities have totally covered it with a huge canvas, which was supposed to only be temporary. A long period followed this dramatic event, during which architects, public authorities, urban planners and philosophers have discussed Høyblokka’s future. Away from those bogged-down debates, the inhabitants of Oslo are noticing that the paradox between the monumentality of Høyblokka and its profound fragility is getting worse. An enigmatic atmosphere now surrounds that former glory.
Consciousness Program Open call for Høyblokka Location Oslo. Norway Year 2014 With Alex Perret
Mobilization Even if the debate around Høyblokka is still bogged down, the inhabitants of Oslo stay tuned. There are two opposite positions: The first is to keep Høyblokka as it is now. The second is to tear down the building since “it’s just a building”, and then build something new. But are we able to build something which can fill the void that a demolition would create? Conscious of the architectural, spiritual and moral strength of Viksjø’s building, the inhabitants of Oslo will give Høyblokka back the symbolism it always wanted to embody: “A social democratic building”. Tired of the current situation, together they decide to cross the mental boundary and fulfill again the aim of this place, by giving it life without forgetting its deep history.
Praise of modernism Høyblokka was the first of a group of buildings planned to host the Government. It quickly became one of the most symbolic buildings in Oslo, both because of its monumentality and its embrace of modernist principles (piloti, the free plan, roof garden, free design of the façade). Y-blokka followed, but the symbolism and the modernism initiated by those two buildings spread to entire neighborhoods. As well as being avant-garde, they deal with art as public property. These buildings have been models for other projects in several cities across the world: New York, Paris, Barcelona, Stockholm… This urban masterpiece, designed by the architect Erling Viksjø, is synonymous with hope for the city of Oslo. Indeed, as the rest of the world, Oslo has been wanting to move on ever since the World War II ended.
Appropriation The free design of the plan easily enables the inhabitants to make new places inside Høyblokka. Thus they can insert their understanding of a new modernity through contemporary uses. The permanence of Høyblokka was in its scale, and its position in the urban landscape. After several years, the tarpaulin that covers the façade is finally removed. The façade is now designed according to the inhabitant’s desires and assumes the diversity of the people who are living in the building. In addition to this, new eyes can open on the city of Oslo by going up to the terrace, which gives an overview of Oslo from inside the city and breaks the silence that Høyblokka was immersed in since the disaster.
Quarantine Whilst the city of Oslo keeps developing, symposia, debates and lectures about the future of Høyblokka have been taking place ever since the disaster. But even though Høyblokka is not
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Now Høyblokka is definitely back again in the daily life of Oslo.
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Towards a critical sustainability
Location The pavilion is located in a very pragmatic way: it has to be easily visible and easily accessible. Thus it is in the middle of the three stages. The horizontal light of the roof breaks the monotony of the tree stems around and tries to assert itself as a part of the location without offending it.
Regarding to the current world situation we agree that sustainability has to be involved in architecture. Every architect and every single human being is concerned about that topic. Nevertheless it should not be a point to reach but either a tool used during the design process to improve the quality – not only the comfort – of the building. Therefore, sustainability it’s no longer the only input to have in mind when we are designing a building.
Nordic light Program Pavilion Location Oslo. Norway Year 2014 With Filip Bjerke Fyri
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Light The pavilion uses the darkness as a way to settle the different levels of privacy which have to lead to emphasize the quality of the Nordic light. Outside, the roof prepares the visitor to enter into the pavilion with softer indoor light. The paths inside are darker and the space oscillates between a narrow corridor or a wider room which gives depth to the darkness. The main room has a diffuse indirect light coming from a roof opening towards the north. The inside atmosphere tries to suspend time from the festival community. The space can be understood either as a spiritual space or as a place to rest before going back to the festival.
By quality we want to evoke the atmosphere of building. We said above, that architecture is losing its soul and it is not able to generate atmosphere anymore. We are deeply convinced that architecture starts by establishing an atmosphere regarding to local and global issues. Then we enter a process where we have to make choices and concessions to reach that atmosphere. We also agree that sustainability should go further than some simple regulations or standards. To our opinion it’s definitely related to resources and knowledge which are both local and global. Then architecture becomes translocal and “it is able to operate interconnections between different cultures without denying their singularities”.
Wood Working with darkness to reveal the light is quite challenging and we manage to reach that point by using oak. Using wood was obvious because it’s one of the main resource that Norway has. Alvar Aalto had an interesting opinion regarding to it: “even if I don’t like wood I have to use it because forest almost represent 75% of the Finland”, a both pragmatic and sustainable thought.
Transcribed an atmosphere Nordic light Through that meeting point pavilion we tried to have precisely that kind of process. We asked the question of resources, knowledge, materiality, the meeting point by itself, its location…. We chose to work on one pavilion which highlights the Nordic light as one of the main resource we can find here in Norway. As a reference we looked towards Japanese culture where light is used to define boundaries. Light defines the degree of privacy aswell as the degree of consideration you have for your guests.
To emphasize the graduation of darkness we could have painted the wood with some greyscale painting but it seems more interesting to consider wood as a living material and work with its inner structure. That is why we mean it could be interesting to work with the chemical reaction wood can get. One can darken oak by applying a mixture of white vinegar and steel wool. The iron in the mixture will cause a corrosion to the material which then darkens. The amount of iron in the vinegar determines the gradient.
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parency, continually sought in the direction of the canal and the city centre. This creates a tension between all of the components of the program.
Through this project, we want to focus on questions we have revealed upstream in the urban proposal. The revalorization planned for the riverbanks to reduce existing borders between the “Barriol” district and the old city centre highlight strategic locations. One of them is the soccer field, apparently abandoned. This area gathers a wasterland, the new pedestrian bridge, a tramway and an urban park. First, it’s the horizontality that characterized this space, a nice way to assert itself against the verticality, a main characteristic of the ancient city.
Soccer training center Location Arles. France Year 2012
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Finally a particularly thinking is lead on the light, creating a system (horizontality – transparency – light), which make the architecture “alive”. She slides under concrete plans, loses itself in the canopy, is divided on the corners of the sports complex. This one, monolithic, emerges in the suburban housing. His shape, cutting the landscape is reminiscent of the chain “Alpilles” located further north-east. The light is only zenithal when it’s combined with concrete. Otherwise, she arrived in front through large openings, treated as huge windows, which are applied on metal plates deployed filtering the light entering the rooms. The substructure supporting the occultation defines the design of the form that is used for concrete.
The project seeks to use horizontality through the capacity that offers this kind of program. The stadium is made by a green plan on the ground (grass), the park offers another one plan a few meters above (canopy formed by the pine forest). The work we have done onto the horizontality have starts to become interesting when it is associated with the one we have done onto the trans-
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B D
A C B 160
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D A
Extérieur - Pavés engazonnés
Propriété privée
Foret de pins - Pin d’Alep
Drain engazonné
Parc urbain
Terrain Indoor - pelouse synthétique
Complexe sportif
1100
Propriété privée
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100
Zone 30
Bitume
Béton blanc
Béton engazonné Béton ciré gris
Béton engazonné
Béton ciré gris
Banc béton Gazon
Zone 30 Bitume
Bitume
Gore pâle
Herbes hautes
Dallage Pierre - type pierre de pondre
Dallage Pierre - type pierre de pondre
Pelouse
Bitume Jardin privé
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Jardin privé
Bitume Jardin privé
Vide Sanitaire
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This pavilion takes place in the “Festival des Cabanes” 2013 within the topic of work. Then our proposal tries to emphasize the concept of work as a human condition through the history of the surrounding area and the landscape work. This pavilion is buried in the ground as a reinterpretation of the mining history of the western area of the Luxembourg. It is also a way for us to express the hardness of this task which highlights the concept of work as a human condition. Beyong this simple thoughness of digging the ground, we
also aim to emphasize the relation to the ground, the site and the landscape through this work. Alain Roger wrote : “Every landscape is made of pure art”. This pavilion tries to manifest this artificialisation of the ground, this act of digging through this pure abstraction: an evanesccent cube buried in the ground, the straight wooden cladding, the foliage over the ground and a simple stairway.
Pavilion Location Esch. Luxembourg Year 2013 With Laurent Boutin-Neveu Adrien Ménard & Yan Roche
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proposes a linear reading of the building giving it a certain lightness. The calepinage on the front facade borrow his materiality and his roughness from the public square in order to strengthen the principle of lifting plans. The inside is radically different. This one has to be extremely clear because of all different activities which are take part in it and ask light. It is designed according to two concepts, that of light and that of way. The central point, bathed in light, helps to understand the functioning of the building. Indeed from this point of entry to the various program elements is readable because of the overabundance of light. To move from one space to another so be the next way: light - dark - light. Finally, the material inside should reflect light so as to highlight this principle but also so that the activities taking place there, are pleasant.
This cultural building takes place in the planning project designed during the first semester. The program composed of a music school, a library, and an exhibition room, only takes up the fourth of the particle aviable to realize this project.
Cultural center Location Vaulx-en-Velin. France Year 2011
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The chosen idea is using the void as a spatial unifier element. The « between two » topic is as important as the building himself. In this case the program was burst and thought in a centripal way around a space which have to gather it. The second main position is in the specific use of the ground as a way of discover the building. The ground, intrinsic element of the architecture, raises according to plans which allow to generate the entrance within the building. Underneath those one we also find circulations which allow to articulate the project. The bursting of the program and the game plan
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1
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2
1
Salle de Spectacles
Archives
Patio
Médiathèque
Espaces de circulations
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+5.00m
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+4.65m
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acles ect Sp de
Méd iath èq ue
Sa lle
Espace végétal
Espace minéral
VIDE
Ecole de Musique
+9.70m
5
+0.00m
s ive ch
Hall usique de M ole Ec
Ar
Plan RDC
1_200
Coupe AA 1_200
Plan N1
+2.00m
+1.3m
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1_200
Coupe BB 1_200
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+1.00m +0.00m
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XS Architecture Location Lyon. France Year 2012
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Program Our discussion focuses on the different positions taken by the body at rest. The seating device that we propose works as an anamorphosis characteristic postures: sitting, standing, lying, leaning. The bench is a summary of typical postures, resulting in a soft surface, ready to accept new forms of presence. It reveals a multitude of possibilities and evokes the continuous transformations of motion in a logic dynamic flow, these are characteristics of the contemporary society.
Design process - Definition of typical profiles corresponding to different positions. - Linking of its profiles in a fluid way. Lines of the bench are worked so as to propose a form inviting and comfortable. Profiles which generate the form are separated into two categories (A-profiles cases; B-profile seats) which are inserted: A-BA-B. This allows us to scoop the material, making the bench lightest . It also creates an assembly area that stiffens and stabilizes the bench. Finally the bench is divided into six groups to facilitate its transport.
Materials and dimensions - Multiple-bench seats: sitting, lying, leaning... - Standard size: 80x80x200cm. - Material: Three-ply plates Pine Exterior Glue. - Dimensions: 5000 Ă— 2000. - Thickness: 23mm.
Fabrication - Validation of the conceptual and constructive principle through a model. - Looking for material optimization. - Use the minimum surface to machine all parts. - Cutting with a digital milling machine. - Assembly of profiles by the method ABAB along the two axes are shared by each profile. - Adding spacers to gain in strength and stability.
With Laura Vidal-Alvarez, Bastien Moulin & Alex Perret
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MAGAZINE
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Qui ne dit mot consent - QNDMC Location Lyon. France Year Since 2011
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ABOUT US
MANIFEST
Qui ne dit mot consent, architectural magazine, is an initiative of twelve students in architecture from ENSA Lyon. Together, we agree to say that the architecture student lacked a space for his expression. QNDMC, seeks to convene the positioning of these students. In a broader sense, it seems more relevant to our future, to compare these positions, of course with architects but with more disciplines revolve around architecture. Thus, QNDMC also welcomes the opinions of architects, artists, geographers, historians, students or professionals.
QNDMC wants to raise awareness, critical thinking, creativity. QNDMC do not want to be confined to an informed public and specialist. QNDMC thinking is changing and thus not exhaustive. This magazine wishes to question, open and build critical thinking, composite, by bringing eye and opinions from all sides. Based on a collaborative basis, the diversity of its corpus is address to different sensitivities to allow a wide audience to question and to feed an opinion on the issues involved. QNDMC is by no means dogmatic, but rather a mediation, an instrument.
The magazine is biannual. Each issue offers positioning on a contemporary topic. It is defined by the twelve members, its delimitation is done with the help of a strong personality, well-known for having already made a definite contribution to the field to which the topic is related on. Publication of each issue is introduced by a lecture given by the iconic character with whom we collaborated. Publication paper is accompanied by a digital publication on www. qndmc.com.
QNDMC project is a student initiative, a desire to take a critical look at the world of architecture and its related fields. It is a wish to open a perspective, a debate. The project provides an ambition to be accessible and so diverse. Oral: the lecture. Interactive: the digital platform. Posted: review, because the object produced, tangible presents to us as a result.
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