Ana Rute Malato: Architecture Portfolio - 2021

P O R T F O L I O A

N

A

R

U

T

E

2021

M

A

L

A

T

O

146.97 144.67

146.97 144.04

146.24

145.80

143.37 145.60

147.09 144,33

145.95

152.60

146.97 142.22

152.60

141.50

142.40

142.00

152.60

140.00

160.50

141.78

141.58

139.79

140.43

140.66

140.89

160.50

140.72

140.00

141.12 140.51 141.06

140.20

140.30 140.38

140.08

149.60

143.60

139.99

137.95

139.79 140.40

138.37

139.13 138.57

140.56

143.12

139.22

142.61

2

138.38 138.06

Index DESIGN: The Collective Dwelling: Porto, Rua da Alegria - 2017 pg. 4 Designing the Public Building: Porto, Rua Pinto Bessa - 2018 pg. 10

COMPETITIONS: Vice Versa: Pladur® Competition - 2019 pg. 18 The Hanging Gardens: Arquia Becas Competition - 2020 pg. 24 RESEARCH: The twin churches of Rome pg. 32 Tradition and Evolution pg. 36

3

The domestic space and the meaning of home.

Architectural expression based on constructive details A volume appeared as a response to the city: linear and parallel to the street, it was born out of a will to complete and re-define the perimeter of the pre-existent block in the most simple way. The ground height differences from the adjacent streets originated the need for a platform, in which the volume would rest. The platform was to be inhabited, and it would allow that, at the ground level, the houses could extend to the green interior of the backyard. And so, the volume cantilevered over the platform, to welcome the direct entrance from the street. In the interior, the idea was to work with spatial continuity, and so, the composition was created with plans, by addiction, like in the works of Mies Van Der Rohe or Luís Barragan. In the constructive solution I searched for the rule, for both the physical and conceptual structure, the order that would allow both consistency and flexibility. The cantilever defined the need for thick load bearing concrete walls, and so I chose to let their expression remain truthful.

For isolation purposes the concrete was duplicated, what permitted the installation of infrastructures within the now 50cm wall. The structural rhythm of these walls alternates between a span of 8m and 2.5m and it allows the definition of a hierarchy in the organization of the compartments: between the 2.5m span we find the serving compartments - like kitchens, bathrooms and so - and between the 8m we find the served - living rooms and bedrooms. This difference should also be made clear with the material choice - rough but light-coloured materials for the servant spaces (like marble stone and white concrete) and softer but more contrasting materials should appear in the other compartments (like dark wooden furniture and non-structural almost removable walls painted in dark grey).

Collective Housing complex The Collective Dwelling Porto, Rua da Alegria - 2017

4

144.04

N 146.24

145.80

143.37 145.60

144,33

145.95

152.60

142.22

152.60

141.50

142.40

142.00

152.60

140.00

160.50

141.58

141.78

139.79

140.43

140.66

140.89

160.50

140.72

140.00

141.12 140.51 141.06

140.20

140.30 140.38

140.08

149.60

143.60

139.99

137.95

139.79 140.40

138.37

139.13

138.38 138.06

138.57

140.56

143.12

5 SITE PLAN OF THE COMPLEX

139.22

SCHEMES OF THE HOUSING FLOORS

6 MAIN FAÇADE OF THE BUILDING AND FLOOR PLAN OF THE FIRST FLOOR

FLOOR PLAN OF THE UPPER FLOOR TRANSVERSAL SECTION OF THE BULDING

7

CONSTRUCTIVE DETAIL OF THE BUILDING’S WOODEN FAÇADE [BASED ON THE HAWA FRONTFOLD 20 SYSTEM] SECTION AND FLOOR PLAN

8

PHOTOGRAPHS OF THE MODEL MAIN AND BACK FAÇADE

9

The basic idea for the project came from the will to adress two of the issues of the plot: A very short façade to the main street - which was composed of mainly residential buildings, and a complicated and steep topography of both the street and the interior or the plot itself.

Since the projected building was ment to be public, a movie theater, I chose to place it in the alignement of the row of wharehouses that hid behind the residential buildings, for they beared a more similar scale. This also made possible the creation of an open area between building and street, that would allow the perception of the whole building’s façade.

As for the topography related issues, they were overcome with the design of an exterior auditorium in the heart of the project, that makes a smooth transition between the highest and lowest floor height. Inside, the interior auditorium is placed under the exterior one, ocupying the center of the building once more.

The material used for both the structure and expression is mainly grey concrete, and in the interior some walls and revested in wooden panels. The structure is ment to be a part of the interior space: the 1 meter high concrete beams are always exposed, creating a brutalistic rythm.

The interior organization is quite simple, with all the compartments opening to the central exterior space. There is also an emphasis on the fluidity of the space, both horizontally and vertically.

Designing the Public Building Porto, Rua Pinto Bessa - 2018

10

N

11 SITE PLAN AND SECTION THROUGH THE MAIN STREET

12 LOWER FLOOR PLAN AND SECTION AA’

13 SECTION THROUGH THE EXTERIOR AUDITORIUM PARALEL SKETCHES THROUGH THE INTERIOR OF THE BUILDING

14 ENTERANCE FLOOR PLAN AND SECTION CC’

1- Concrete slab (10cm) ; 2- Plastic Sheet; 3- Thermal Insulation (10CM); 4- Anti-vapor barrier - asphaltic paint ; 5- Lightweight concrete ; 6- Concrete Slab (15CM); 7- Zinc; 8-Thermal Insulation (15CM); 9- Concrete Wall (25CM); 10Exterior concrete finishing (15CM); 11- Sikafloor (2CM); 12- Regularization (2CM); 13- Stone (granite) floor (4CM); 14- Cement glue (2CM); 15- Waterproof asphaltic fabric; 16- Thermal Insulation - mineral wool (3CM); 17- Artisanal steel frame; 18- Concrete acoustic block; 19- Acoustic Insulation - mineral wool (10CM); 20- Concrete slab (10CM); 21- Regularization (5CM); 22- Gravel; 23- Thermal Insulation (3CM)

CONSTRUCTIVE SECTION

15

MODEL, SCALE 1/100, PVC

16

MODEL, SCALE 1/100, PVC

17

The following project resulted from the participation in the 29th edition of the Pladur® contest. It was developed together with Frederico Barbosa and Catarina Quinaz. The program requested the development of a flexible housing complex, that could not only grow but also reduce its size according to the user’s will.

Our main challenge consisted of compatibilizing the language and scale of the proposal with the small village in the proximity and the limited dimention of the plot. The implantation and volumetry of the projetct are a result of the will to reduce the scale of the building, by splitting it in two smaller volumes, that touch the ground on the enterance zone, but progressively release themselves from it, allowing the continuity of a line of water below.

The shape of the building comes from the design of the single cell, and is conditioned by the constructive system chosen. It is at the same time influenced by the context of the nearby village: we opted for materials that would fit in in terms of color and texture, which defined the choice for a structural system in wood and not concrete. The metrics of the design come from the dimension of a standard Pladur (plasterboard) module - 1,20 x 2,50m. We hoped to achieve as little waste as possible and reduce the construction costs aswell.

The starting point, the house in its most reduced form, is a one-bedroom cell with 40m2, with an exterior but covered terrace on top, This terrace will be, however, ready to transform into an interior floor plan, esquiped with bedrooms. By designing the volume as a whole from the beggining, we guarantee the coherence of the building’s visual impact - and issue frequently associated with flexible and evolutive habitations.

The growth and expansion of the building is, in a way, also predicted and designed, wich will optimize the costs and guarantee a functional organization.

Vice-Versa

Pladur® Competition - 2019

18

19 SCHEME OF THE COMPLEX

Cam

iño Pub lic o

171.00 170.00

0

9.0

16

182.00

183.00

174.00

173.00

172.00

l í n e a

AA'

d e

a g u a

N

20 UPPER FLOOR PLAN AND TRANSVERSAL SECTION OF THE BUILDING

1

1,2 m

1

4 2,4 m

4

BB'

1

1

4

4

BB'

1,2 m

4

8

1

4

8

1

2

3

9

1

BB' 5

6

2

3

5

6

9

BB'

0,4m

2,5m

7 0,4m 0,4m

2,5m 2,5m

2 7

3 0,4m 2,5m

2

3

UPPER AND LOWER FLOOR PLANS OF THE CELL (WHEN FULLY EXPANDED) LONGITUDINAL SECTION OF THE CELL

21

1 2 3 4 5 A

6 7

8 9 10 B

1 - WOODEN ROOF SLAB REVESTED IN ZINC; 2 - MAIN WOOD BEAMS; 3 - WOOD PILARS; 4 - THERMAL INSULATION - MINERAL WOOL; 5 - PLADUR®/ CEMENTEX - 8X1200X2600MM; 6 - MONTANTES M PLADUR®/ 46MM; 7 - PLACAS PLADUR®/ H1 - 13X800X2000MM; 8 - PLADUR®/ ULTRA L-TEC- 13X1200X2500MM; 9 - SECONDARY WOOD BEAMS; 10 - PLADUR®/ FONIC - 13X1200X2500MM

1 - Cubierta en madera revestida de zinc 2 - Vigas mestras en madera 3 - Pilares principales en madera 4 - Aislamiento térmico - lana de roca 5 - Placas pladur® Cementex 8x1200x2600mm 6 - Montantes M pladur® 46mm 7 - Placas Pladur® H1 - 13x800x2000mm 8 - Techo falso compuesto por placas pladur® ULTRA L-TEC- 13x1200x2500mm 9 - Vigas secundarias en madera 10 - Placas Pladur® Fonic - 13x1200x2500mm

22 CONSTRUCTIVE AXONOMETRIC SCHEME OF THE BUILDING AND RENDERED

IMAGE OF THE BULDING WITH THE NEARBY VILLAGE

RENDERS OF THE ACESS GALERY AND THE MAIN FAÇADE

23

The hanging garden and a matter of scale These are the two main ideas behind the following project.

The first, as the tittle indicates. refers to the possibility of creating green spaces, vertically organized, in close relation to the architectural piece. On this proposal, this spaces are located along the terraces and balconies of each house, but also on the first floor. The organization determins that half of the building’s façade is covered by a green curtain, capable of providing sustenance, if used as an urban garden, but also privacy, noise reduction and contribution for air quality and renovation.

The second idea, on the other hand, is perhaps less pragmatic, and is an underlying one, thus more dificult to explain. It has something to do with Peter Zumthor’s idea of scale, interior and exterior. And above everything, it has to do with what’s in between: the wall.

It reflects a concern with the search for diversity in spatial relationships and quality in interior space - qualities that depend greatly on the façade - this second idea, whose potential was above all others explored during the barroque period, has to do with the understandment of the wall as an element, not linear, but tridimentional, with width, tickness and variable depth.

The façade is thus understood as an element capable of producing a dynamic rythm to the street, but also capable of providing a spatial idea for the inteior, without authomaticaly revealing it outwards, rejecting the idea of the façade as a simple and thin skin-like element.

The Hanging Gardens Arquia Becas Competition - 2020

24

25 SCHEME OF THE FAÇADE

26 FAÇADE OF THE BUILDING

27 SECTION OF THE BUILDING, PARALEL TO THE FAÇADE

28 FROM TOP TO BOTTOM:

29 PARTIAL PLANS OF THE BUILDING - TOP FLOORS, FIRST FLOOR AND STREET LEVEL FLOOR

RENDERS OF THE LIVING ROOM SPACE

30

AXONOMETRIC SCHEME OF THE LIVING SPACES

31

Designed by Carlo Rainaldi, Carlo Fontana and Lorenzo Bernini, two churches stand at the entrance of Rome. They stand in the corners of three converging streets and create a façade for the piazza, but also the whole city. Because of that, their outer appearance would be of the utmost importance. Because of their symmetrical position, there should be no difference between both volumes. However, when one looks up closely, striking differences begin to be perceived. When one walks inside, those differences become clear – the interior space takes the shape of a perfect circle in one of the churches, while in the other, it forms a complex curve. But why?

In the pages ahead are shown a few drawings produced in the context of a work that sought to provide an explanation for the asymmetry of these twin churches: from the differences in the block, to the interpretation of how the first projects could have been and the reasons that could have led to the drastic changes. These studies were produced in the course of History of Modern Architecture.

“Despite everything, it would have been possible to overcome certain differences in the buildings’ configuration by adjusting the dimension of the dome and reducing the depth of the side chapels. However, the decision to fully change the churches’ plan was probably a subtler one: It was adopted not by impossibility or total incompatibility of the block, but because of the comprehension that imposing a rigid and pre-conceived form to the design would be a worse solution, especially considering that the only true need for resemblance resided in the façade. Thus, the plan was adapted to the situation, maintaining the unity of the intervention, but remaining true to the reality of the place.”

The condition of (in)equality: The reason for the complex curve, 2016. This research and essay are my contribution for a group project, dedicated to the study of the twin churces of Rome

the history ofchurches architecture The twin of Rome The twin churches, Rome Research on the history of architecture - 2016

32

FLOOR PLAN OF THE CHURCHES AS BUILT DRAWING OF THE FAÇADES AS BUILT [HAND DRAWN STUDIES]

33

PROBABLE FLOOR PLAN AND FAÇADE OF THE FIRST PROJECT BY CARLO RAINALDI [UNBUILT] PROBABLE FLOOR PLAN AND FAÇADE OF THE SECOND PROJECT BY CARLO RAINALDI [UNBUILT] [HAND DRAWN STUDIES]

34

‘THE SAINT PETER’S PROBLEM’ - THE IMPACT OF THE DOME IN THE FAÇADE LONGITUDINAL SECTIONS OF THE THREE PROJECTS AND LINE OF SIGHT FOR THE DOME [HAND DRAWN STUDIES]

35

The office composed by Francisco Figueiredo Melo and Jorge Gigante, over which the following pages takes interest, produced an extensive body of work during about 40 years of activity. Unfortunately, most of the built work – mainly centralized in Oporto, Potugal – remains unknown and unpublished, resulting in countless situations of degradation and unqualified interventions.

The dissertation from which the following pages give notice beared a double purpose.

On one hand, it served to document and expose a compilation of unpublished projects from this office, with the optimistic hope of giving one step in the direction of preserving their legacy.

On the other, it aimed to become more than a simple monography - a compilation of projects organized by date - but a reading instead. For that reason, it was important to build – even if only in the background – a framework for understanding the instruction behind each project, capable of establishing relationships between certain themes and issues, that are to be understood as lessons that one can withdraw from an attentive architecture, and whose quality is proved by this very possibility.

Francisco Figueiredo Melo and Jorge Gigante: Tradition and evolution, 2020. This excerpt is part of my master’s dissertation, a research project, dedicated to the study of unknown 20’th century portuguese architecture.

Tradition and evolution

Research on the history of 20’th century architecture - 2020 “A critical internationalism”1 The following comparisons serve the purpose of highlighting the shared characteristics found in some of Gigante/Melo’s buildings and the broader European architectural context, with a focus on the Italian and Danish reality. This focus is justified by the discovery of evidence (magazines, travel documents, etc.) that suggest the knowledge, from the architect’s part, of these parallel realities.

The comparison itself hopes to defend that, despite the local, pragmatic, artisanal and somewhat traditional instruction behind these architect’s practise, there might have been, to some extent, a conscience of a shared spirit, or intent.

1

Term coined by Jean Louis-Cohen in the book “The future of architecture since 1889 – A world history”, used to describe the intelectual renovation that swept across some regions of Europe in the second half of the 20th century, that sought to integrate the modern discourse into a traditional, regional and traditional context. In some ways this term oposes itself to Keneth Frampton’s notion of ‘Critical Regionalism’.

36

1

2

3

4

5

1. House in Baveno, Novara (1951), Giancarlo di Carlo; 2. Houses for the University residents, Urbino (1955) Giancarlo di Carlo; 3-4. House for Dr. Neves dos Santos, Oporto (1959) J. Gigante and F. Melo; 5. House Zigaina, Cervignano del Friuli, Udine (1958) Giancarlo di Carlo; 6. Two houses in Rua de Costa Cabral, Oporto (1961) J. Gigante and F. Melo

6 37

1. Trenton Bath House, New Jersey, USA (1954) Louis I. Kahn; 2-3. Albergaria-a-Velha’s Market Square, Aveiro (1968) J. Gigante and F. Melo

1

2

3 38

1. Kingo houses, Helsingor, Denmark (1958-1960) Jørn Utzon 2-3. Houses at the Alto das Torres, Vila Nova de Gaia (1970-1974) J. Gigante and F. Melo

1

2

3 39

1

3

2

4 1-3. Housing for the disabled, Eslöv, Sweden (1958) Bernt Nyberg, Karl Koistinen; 4. Telephone exchange of Arcozelo, Vila Nova de Gaia (1974) J. Gigante and F. Melo; 5. Casa Sichirollo, Romanino, Urbino, Itália (1966-67) Giancarlo de Carlo; 6. Telephone exchange of Arcozelo, Vila Nova de Gaia (1974) J. Gigante and F. Melo

5

6 40