[ENGLISH] Architecture Portfolio

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BRAZIL

PHILOSOPHY 2013

Assistant of the Urban Project course (18 months) professor Liza Andrade

2013

Organizer e participant of ENCAC/ELACAC (National Indoor Comfort Conference/ Latin American Indoor Comfort Conference)

2014

2016

ITALY

LUCAS BANDEIRA CALIXTO 28/09/1992 GOIÂNIA, BRAZIL BRAZILIAN, ITALIAN lucasbandeira92@hotmail.com +55 61 983033272

Beginning of Bachelor’s at Universidade de Brasília, Brazil

2015

UNIVERSITY OF BRASÍLIA POLITECNICO DI TORINO

2018

2018

BRAZIL

BIR NAM CIT TH DA E IZE TE NS HIP E TEL MA EPH IL ON E ALM AM ATE R

2011

Internship - MBI Arquitetura, Brasília April/2014 a June/2015 Functions: conceive, produce and detail diverse architecture projects and typologies. Constant use of BIM program AutoCAD Architecture Beginnning of double-degree studies at Politecnico di Torino, Master’s degree (01/10/2015) Participant of Alta Scuola Politecnica (ASP), between Politecnico di Torino and Politecnico di MIlano, whose aims were to develop high-profile research in various fields. WaLi project.

Graduation Politecnico di Torino - Master’s degree 02/03/2018 Thesis: “Water For Life: An experiment on fog harvesting for northern Italy ” Considered worth of merit Return to Universidade de Brasília

Graduation at Universidade de Brasília - 31/08/2018 Project: Pavilion Collector I of Piacenza

I like to say that no one is destined to something, but everyone are born with purposes - the results of a set of personal characteristics, like vocation to the arts, easiness with doing business, interpersonal relations, sports, among others. Under this parameter, I often think that I was born to be an architect. My nterests in history, arts, social studies, technology and my passion for research goes as far as my early childhood, and since then, my personal struggle has always been to live up to my own expectations, following the Nietzschian quote“become who you are”.

Architecture today, just like other branches of the arts - and I want to make it very clear that, for me, it is an art form - is disoriented, and that is not necessarily good or bad. All past architecture avant-gardes, from the Middle Ages until the Modernism, had the peculiar characteristic of defining its time, and it is only fair that it had been that way. Having stated that, a question arises: what architecture avant-garde could define the 21st century? What is the identity of our time in relation to previous ones?

Maybe the answer is yet to come. However, it can be difficult for the contemporary architect to realize just how much the 21st century is revolutionizing not only architecture, but the way architecture is made, like no previous century had ever dared to - I include here the drastic, revolutionizing Renaissance upheaval on the architect’s role. Generally speaking, few of us are master-builders, but many are master CADists, Revit monkeys, scholars in exaggeration and little or nothing like master-builders (arkhi tekton). In parallel, problems concerning architecture and urban planning have also worsened off, creating polluted and congestioned cities, especially in the developing world, and some of the most value-less, culturally-strange architecture ever produced.

Since it is not represented by one single architecture movement, the 21st century sees the rise of several movements, often contradictory among themselves. “Sustainable” architecture, deconstructivism, high-tech architecture, container architecture or even a turn to the classic architecture have been some of the noticeable movements. The architect, now faced with several designing currents of which he/she knows that can‘t subscribe to all of them, must choose which path he/she wants to thrill, listening more than ever to clients’ needs and sometimes designing buildings without being entirely sure that can function properly.

This multiplicity of styles and tendencies were my main inspiration when drawing this portfolio’s cover. I strongly believe that, just like no two humans are the same, there should not be two identical buildings. Diversity enriches and teaches, adds to the monotonous something it could never produce on its own: dynamism. And this, for me, is the word that defines all my architecture. For it is not a style and it is not sterile; it is not a product exclusively of my own architectural trait, but the result of all multidisciplinarity that I can reach. This way, it ends up being an architecture of its time, when it aims to reunite in itself all the richness of diversity and generate out of it something always different, always new, always belonging.

Lucas Bandeira Calixto 18/10/2018

PROJECTS

BRA

SAMAMBAIA STATION

ITA

‘L PAN MAT

2013 2016

URBANIZATION OF LUNGO DORA ITA

2016

UNIVERSITA’ DELLA MUSICA

2017

PAVILION COLLECTOR I

ITA

ITA BRA

2018

1 2 3 4 5

SAMAMBAIA STATION

Location: Brasília-DF, Brazil Year: 2013 Typology: Metro station Key Words: Brasília, metro, samambaia, glulam,transportation, steel

The purpose of the fourth architecture atelier of 2013, theme as “free span atelier”, was to conceive a new metro station for the city of Samambaia, Federal District. Located next to residential areas and on an extensive non-building area, the project dealt with such situation by positioning its access closer to the most used avenue and concentrated in one single focal point in its extremity, therefore gathering people at one single point and then distributing them according to the prevailing foreseen fluxes.

The structure is based on the ideas of movement, nature (where it imitates a rib cage) and sustainability, where the sun position was studied and the project made in accordance to a light/shadow game as a result. The station’s main characteristic, however, is its unidirectionality: the passenger, when leaving the trains, have one clear, direct route to take to leave the station. For those who are willing to embark on the trains, the path is also unidirectional. Such factor was made possible largely by the project’s open plan, made in such a way that one can see all three levels of the building, regardless of where he/she is located.

The restricted area is ventilated and illuminated through its main atrium. This technic area, intermediate between the ground floor and platform levels, is held into place by a steel structure vinculated to the project’s main porticoes, and does not rely on pillars to which the structure could unload structural charges on the platform. This arrangement is made so there is the feeling that this intermediate level is fluctuating above the ground. The weather of this Brazilian region is known for being one of the most comfortable climates in the world, therefore bioclimatic solutions did not make extensive use of insulation.

Section AA

0

10

20

40m

N 1. Circulation 2. Vertical circulation (Rolling stairs) 3. Vertical circulation (stairs) 4. Vertical circulation (elevator/lift)

acess

A

2

3 4 3

2

Ground floor plan

2.

Vertical circulation (Rolling stairs) 3.

Vertical circulation (stairs) 4.

Vertical circulation (elevator/lift) 14. Ramification of fluxes

A

1

acess

N

RESTRICTED AREA 1. Circulation 5. Ticket window 6. Safes 7. Supervision 8. Deposit 9. Kitchen 10. Cleaning material deposit 11. Bathroom/lockers, both sexes 12. Reunion room 13. Multifunctional room 14. Bathrooms

6

A

2 3

2

4

7

8

9

5

4

1

15

10

11

A

11 14

13

12

Intermediate level plan

N

15. Plataform ÁREA RESTRITA 1. Circulation 16. Equipments 17. Secondary staton, aux.

18. Battery room

A

18 15

1 16

Platform level plan

17

A

Orange line BrasĂ­lia metro

N

Samambaia, BrasĂ­lia-DF

Project area

Access hall Ticket boxes, ratchets, flux distribution

Restricted area

Plataform Restricted area Detailing of intermediate plan structure

0

50

110

210cm

Y

TR SC

AS

LI A

N

DE L

INTERNATIONAL SCHOOL OF

BAKERY AND PATISSERIE

ITA

Location: Chieri, Piedmont, Italy Year: 2016 Typology: Cuisine school Collaborators: Irene Traffano, Gianfranco di Modica Key Words: Open-plan, sustainability, restoration, project revision, Italy, Chieri

PARA A CIDADE

‘L P A

‘L PAN MAT - ITALIAN SCHOOL OF CUISINE (RESTORATION/RETROFIT)

FORNO COMUM

MAT N

HO

O L O F B A K E RY A

ND

P

IFSE CULINARY INSTITUTE SCUOLA DI ALTA CUCINA E PASTICCERIA

PA NE

IA EM AD C AC

DORM ROOMS FOR

FOREIGN STUDENTS CIA SO AS

NI NI ZIO A I ZIO C A I O C S AS SO AS

NI ZIO

The former cattle-slayer Mattatoio Civico di Chieri is a historic and cultural heritage site for the city of Chieri. However, since decades it is largely abbandoned and deteriorated, only part of its structure - constructed at the end of the 19th century being functional. The proposal of the Sustainability in Restoration Practices Atelier of the Politecnico di Torino was to plan the restoration of the abbandoned Mattatoio and give it a renewed function, compatible with our era. Restoration techniques were tested a priori for the building, either to remediate or to replace some of its members, and the final dossier was that most of the structure was still usable.

RA TO RIS

A

E NT

MISSING PART

The accademia di pane e pasticceria is part of a system of collaboration between the pre-existent many local associations and the restaurant.

Based on the Italian culture - which is strongly marked by attention to cuisine - and to the historical memory of the Mattatoio and its economic activity vinculated to food, the novel proposed use was that of a school of Cuisine. Such school would function as a subsidiary of IFSE (Italian Food Style Education) and would be made for the teaching of Italian cuisine for Italian nationals and international students alike. Honoring the Piedmontese language - specially its local variant - the proposed name of the facility is ‘L Pan Matt (”the mad bread”).

The school of cuisine is the key for the proposal’s sustainability: here we talk about cultural sustainability, where the new school doesn’t only preserve the functional memory of the building, but is also a reinterpretation of its core function readapted to 21st century necessities. The project is also the only subsidiary of IFSE to offer courses on local Chierese gastronomy, therefore, contributing for the exportation of the local traditions on an international scale.

EMPTINESS AS

NEW POSSIBILITIES

Such empty spaces are an opportunity of creating polyfunctional spaces that aim to suppress the rythm interruption on the façade of the main building, adding a new complement

The original project for the building foresaw another additional volume that was never built. In this reinterpretation, such missing part is taken from the project and brought to reality for the first time, in the form of an illuminated plaza. The void located in the main structure is filled by an additional volume where it creates some sort of bridge between the two parts, serving as the laboratory of the school. In this regard, ‘L Pan Mat is a restoration of the project, not only of its physical structure.

NEW POLYFUNCTIONAL SPACES The proposal includes a laboratory for the bakery/patisserie course as well as aggregation spaces such as the main plaza.

DIFFERENZ ED

COPERTURA STORICA

I QUOTA

CONNESSIONE

COPERTURA STORICA

CURRENT PROPOSED

Piastrelle con sistema autoaggrappante SteelKer Pannello BetonWood in cementolegno 8,0 mm Granulato isolante e livellante in sughero biondo Lamiera grecata 5,5 mm Trave IPE 100

NO SCALE

B

B NO SCALE

A

B

faldale di colmo lamiera preverniciata guaina impermebealizzante

porzioni con necessità di intervento

travetto pannello OSB freno vapore trave IPE 100 travetto passaggio impianti

scatolare cartongesso trave IPE 140

ASSOCIATIONS RESTAURANT EX MATTATOIO SECRETARIAT AND STUDENT DORM

STRUCTURE MODULATION

NEW VOLUME INSERTION POSSIBILITY

752

SCHOOL

473

pavimentazione

1128

752

4136

massetto radiante

473

vespaio areato getto di pulizia inerti di stabilizzazione

376 5264

DEPOSIT STUDENT ROOMS

B

URBANIZATION OF LUNGO DORA Location: Torino (Turin), Piedmont, Italy Year: 2016 Typology: Urban/landscape architecture project Palavras-chave: Lungo Dora, Piedmont, Turin, urbanization, margin, ecology, urban retrofit.

The requalification of the Dora river’s margins is a public necessity since the 70’s and 80’s, when this city’s previously industry-intense region, saw its manufacturing activities being dismantled and giving room to services and commerce, leaving large industrial facilities abbandoned by the river’s margin, making the place utterly uninviting.

Many have been the interventions to regain vitality for the region, notoriously the creation of Parco Dora. Between this park and the not so distant Parco della Pellerina - today important recreational spots for Turin - there is a subutilized sone, largely residual from the industrial era which offers a huge potential of urbanization.

This project, of both urbanistic and landscape architecture nature, is based on regeneration of Dora’s margins through landscape interventions that won’t alter its natural character, but instead, make it return. Compositively, the project is based in paths.

They are the dominant factor of the entire design, determining spaces and functions as well as fluxes.

0 20 10

50

100m

Fruition Bicycle paths Relax walk/stroll

0 20

50

100m

10

Garden Library Open green space Riverside beach Bridge

Initially, the idea connects the Parco della Pellerina to Parco Dora, creating a design opportunity in between. Then, this main path gets separated into may others, who cross the pre-existent bridge into all of its arches, past of which they twist and turn, condition large areas of the project, to finally reunite again at the exit. The bridge, currently in disuse, is made a core element of the area, together with the proposal of a local library, to supply the region with a public service and at the same time to attract a different public to the park.

0

20 10

50

100m

-

UNIVERSITY OF MUSIC

The first providence was to mark a territory on the resert, where the temple would be erected.

Location: (fantasy project) Year: 2011 (concept), 2017 (project) Tipology: Museum and university Key words: University, museum, sand, desert, utopian arquitecture, fantasy, culture, music

94,5m

124,5m

They then wrote a songsheet on the ground. It’s the modulation of the temple

In a remote land, where the scorching sand and the devastating sun combine to produce a beautiful murderer, a people struggle and persist. Nomadic in society and collectivist in government, years after struggle for surviving among that deadly scenario, they learned not to make the sand a foe, but a friend. They brought it to their bosom, in the form of music, for they were inspired by the desert winds, kissing those dunes, sculpting their shapes and souls into sinuous shapes. They thought of it as a big enigma, ready to be unravelled.

4,5m

They drew courses, shapes conditioned by the deser’s waves

Looking for answers, this people embarked on a world exploration saga, travelling to many continents and meeting other peoples, other winds, other messages. Other musics. Contact to cultures and environments other than their on enriched their music, for they learned the sweet song of the open green fields, the inspiring music of the mountains, the calm of the seas, the sadness of the rain, the cold white winter’s whispers. At a certain point, they decide to go back to their homeland, where all knowledge acquired could be used to transform that people into a respected civilization.

From such shapes the support arcs are extruded...

When they returned, however, they had brought such a vast wealth to those poor soils that they realized they weren’t the same anymore. So much had been changed through their experiences, that they realized it wasn’t quality what they needed, but diversity. No more. All cultural enrichment attained cound merge with those sands and create something novel, extraordinary. As a monument to themselfes - to whom they were and to whom they became - they erected a temple that became both museum of their glory and teacher to the future generations. That was their University of Music

The University of Music’s original project was developed in conceptual character in 2011, during the second architecture atelier of the University of Brasilia. However, it was only in 2017 at the Politecnico di Torino in italy that such concept could emerge as a more material form. Internal spaces were proposed, articulated between themselves, all distributed along the main three bodies of the university on the north - which were the only internal spaces detailed for the requirements of the atelier. The southern portion, although not developed, is given a more administrative and support role to the other ones.

Composition-wise, the wave shape - which recalls the desert’s dunes - is present throughout the project, both at ground level and overall shape. The university’s main external corridor is thought of as a conversion/distribution space but also as a public area, offering greenery to the environment. The structural system is not based in any known material, but instead is founded on the principle of the arch, drawing from geometry its main structural resistance, which is supported by solid foundations.

...Which are then sculpted by the wind, like everything else in that desert.

“(...) All’università era vietato parlare. Le parole emmettevano rumori disaggevoli, danneggianti ai sensibili orecchi dei musici - no. Oserei dire che alle loro anime non si facevano capire le parole. (...)

Per cui tutta e qualsiasi communicazione avviene sotto forma di musica, di arte - diversamente non avviene proprio.”

Section AA’

Section CC’

Section BB’

scale 1:1000

scale 1:1000

scale 1:1000

LIbrary

C B A

Royal Theater

Classrooms Auditorium Anfitheater for presentations

C’

Museum

B’

Library

A’

Registrar

Auditorium

Common spaces

Isometric view Escala 1:1000

PAVILION COLLECTOR I OF PIACENZA

Piacenza, Italy

Historic centre

Location: Piacenza, Emilia-Romagna, Italy Tipology: Multiuse pavilion, Fog Harvesting Key words: Free plan, urban furniture, Fog Harvesting, water, fog, community, Italy.

Fog Harvesting, is a term widely used to describe the set of procedures for which to extract liquid water from ground cloud formations known as fog. Such practice has its roots in 80’s Chile, where the arid but foggy Atacama desert provided the ideal context for such ingenuous idea to take place. Looking for answers to the lack of water in the impoverished rural villages of the region, FogQuest (a Canadian NGO) together with Chilean researchers conceived the world’s first large fog harvesting project of the world, where 100 fog catchers provided an average 15000 liters of water for nearby villages. The model was widely acclaimed and have since been replicated all over the world.

The Pavilion Collector I of Piacenza is one of the first initiatives of Fog Harvesting for Italy, and the first effectively adapted to the country’s territory and climate. It is also the first to give the genre an architectural dimension, previously lacking. The peculiarities of the Italian context - european, economically advanced - was highly contrasting with previous fog harvesting projects, that aimed to provide water for people in dire need of it, sometimes being their only water supply.

The chosen city was Piacenza, north of Emilia Romagna, which in 2017 suffered a strong water crisis, even though it sits into one of the world’s foggiest regions. The project is composed of the innovative Dynamic Fog Collectors (DFC), as proposed by Calixto (2018)*, which relies on an artificial wind generation** with efficient fog harvesting copper needles***, to compensate for the region’s weak winds and to enhance efficiency to compensate running costs, respectively. The building is composed of three modules that can be arranged in any possible way - in the project arranged as a triangle to cover an area free of trees. Eventually, strong, straight paths are then drawn to support the Pavilion and to efficiently connect all major access of the park where it is located.

Modern expansions Main materials Glulam, Pinus

Glulam, Eucaliptus

Temperate glass

Inox steel

Reinforced concrete

Eucaliptus (floor)

Combined modules

Alluminum

Fog Collector module

Roof module

Intermediate module

The large roof that the set of DFCs and other modules configure - drawing inspiration from the traditional italian Loggia - gives birth to an open plan, which allows for a multiplicity of uses by the Piacentini people. Such uses are aimed to facilitate a collaboratory urban culture, which involves urban agriculture, seasonal market of local goods, small and large public events, an open-access library, among others. Water collected by the pavillion can be used either to support these activities or to provide a water surplus for the city as a whole.

Bus stop Bike storage Park/ leisure area

* BANDEIRA CALIXTO, Lucas. 2018. Water For Life: An experiment on Fog Harvesting for Northern Italy. A Thesis submitted in fulfillment of the requirements for the Master of Science title. (available: https://webthesis.biblio.polito.it/6770/) ** Bladeless Fan is a type of fan that propels a linear wind flux and is a regulable regulable, easy-to-clean device. *** Periodical roughness Conical Copper Wire, is a type of thorn-like structure that, due to surface differences, it alters the laplace pressure and the contact angle of water droplets, causing them to gather in and around the thorn quickly.

Stairs Elevator Urban agriculture Entrance underground parking Playground Kiosk

N

Section AA’

no scale

Bladeless Fan

N Glulam, eucaliptus

scale 1:20 Steel column, rectangular section Steel “T” profile

Steel rectangular profile PCCW Steel ring Reinforced concrete Alluminum reservatoire

scale 1:20

Detailing

scale 1:50

Concrete tile floor Cement