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Tiago Tresca ARCHITECTURE PORTFOLIO


TIAGO FELIPE MORAES TRESCA tiagotresca@gmail.com Born in 1991, S.Paulo, Brasil (22 years) 2006-2009 Portugal

High School "SĂŁo JoĂŁo" Estoril,

2009-2012 Bechelor Degree in Arquitecture (University Autonoma of Lisbon - UAL)

!"#$%&#$"'()*##*+ My passion for the arts has followed me throughout

Nordic architecture holds, for me, a very distinct

my life. It has played a fundamental role in my

interest - a very distinctly vast potential. Nature's

upbringing and choices ever since I can remember.

hostility on the land forces a very particular and intrinsic connection between theoretical and practical

There are several people to whom I attribute these

architecture. This need for a delicate balance renders

choices and the path I've decided to take as a

unfeasable a loose thinking of the construction's

student, the first and foremost being my father

reality, as well as it renders unfeasable the use of

whose conceptual guidelines and perspective have

overly pragmatic, unimaginative guidelines, since

always been very linear and simple: to focus all of

there is a pressing need for solutions that fully unlock

his passion and labour on Photography

the architectural potential.

Although raised amid very strong artistic influences

My ambition for my Master's Degree passes by

from an early childhood, it wasn't until highschool

studiyng abroad in order to globalize my skills and for

that Architecture was brought into focus as a very

that the Nordic countries present them selves as the

personal interest, especially due to an Art History

perfect oportunite for that.

class I undertook in my second year. My first two years in Universidade Autonoma de Lisboa were deeply shaped by the teachings of professors Manuel Graça Dias (first year) and Manuel Vicente (second year) - architecture as a free and liberal art. The third year, much unlike the aforementioned two, brought to light a much sterner disciplinary process of thinking Architecture, one that favours the project's procedural coherence over the artist's individual abilities, having been taught by the architects Rui Mendes and Ricardo Bak Gordon.


SUMMARY:

3

to 16 PROJECT I

- Refers to my 4th semester in the 2nd year

17 to 24 PROJECT II - Refers to my 6th semester in the 3rd year


Project I . 2nd Year (4th Semester) . Professores: Arq. Manuel Vicente Arq. JosĂŠ Santa Rita Arq. Madalena Cardozo . Project: Location:

Campo de Ourique, Lisbon, Portugal

Program:

Student Residence

Objective:

.Manage to connect an terrain vague in the middle of lisbon with the surroundings areas;

.Design a building within the strategy developed for the urban proposal.


Portfolio

Project I

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Student Residence, Lisbon, Photography


Portfolio

Project I

The project aims to create a student residence. Therefore, as an early concept, Iâ&#x20AC;&#x2122;ve granted the first two floors a more open and social character so it can have a greater livelihood. An important aspect in the buildingâ&#x20AC;&#x2122;s relation to the outside is the possibility to separate two particular areas with a threemeter-high natural slope. Consequently, both the north and west fronts are in a higher ground when compared to the south and east ones; there is an entrance to the building on the higher ground through a ramp which creates a gentle and controlled entry. On the right side there is the reception desk and on the left the gymnasium which is itself made of a small reception desk and an open space for the machinery. There are two bathrooms down the hall of this floor and also a staircase that is lit by a window of considerable dimensions. The lower floor is made of two very large, well lit rooms, of which one is lit by a window that goes all the way to the floor (on the other side of which an outside pool can be found, making it more suitable for yoga classes or other relaxation-based activities), and the other is lit by a window that is 1.8 meters high and 1.2 meters wide, blocking any outside view from within it, though lighting it, making is more suitable for more private classes, such as squash or kickboxing. On the rim of the gymnasium the outside pool stretches itself into the gymnasium through a looking glass such that while a strong relation between the gymnasium and the housing parts of the building is created, it

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Student residence in Lisbon, 2nd floor plan


Portfolio

Project I

is impossible to go from the indoor pool to the outside one and vice versa. The library and art gallery space also has its entrance on the higher ground of the land as a small triangular console that prevents a dysfunctional corner on the inside and creates a small storage unit for the equipment. Past it, we find first the library as a more open space of entry inside which there is a storage unit for books and bathrooms which are controlled by the same counter as the gallery. The library’s outside space is the rooftop of another volume which has its lighting done necessarily vertically by sinking part of the upper surface, which not only enables said lighting but also creates a safety boundary for its walkable rooftop which faces a natural landscape through a 10 meters wide and 3 meters high rip in the construction while being surrounded by all three volumes which make up the housing, creating thus a harmony between the protection of construction and the openness of landscape. The gallery takes advantage of the land’s slope by having a mezzanine that creates two different heights of headroom for two distinct spaces. Its lighting is done by a big window placed 3 meters high and facing east, which, since it’s also 3 meters away from the ceiling in the double spaced headroom area, makes for good lighting on the ceiling. Because it’s not too near the mezzanine, this window allows for a controlled flow of light into the gallery.

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Student residence in Lisbon, 1st floor plan


Portfolio

Project I

The land which was initially split in half keeps this concept throughout the whole building up to the pool which uses this natural slope as a connection the upper floor, emphasizing the clash between that which is pure landscape and the vertical grandiosity of construction. Although hinted by particular lighting conditions, this upper floorâ&#x20AC;&#x2122;s use is purposefully left to its proprietors. The housing buildings are organized by floor in twos: in the lower floor we can find the common rooms with kitchens, as well as a few rooms while in the upper one we can find most of the rooms equipped with bathrooms. There are outdoor spaces in each of the floors, being that while in the lower one these spaces are wider and more social, in the upper floor they are smaller and more private, relating more to each room individually rather than to a common area. This dissonance between each of the upper and lower floors allows for a 3 or 6 meters tall outdoor area in the lower floor. In two particular instances, when lighting the outdoor areas was necessary, the roomsâ&#x20AC;&#x2122; volume breaks off, sinking its headroom over the kitchen, allowing for two distinct spaces to develop in the room: an upper section ideal for studying and a lower one (50cm) in which the beds are placed. In this lower section the headroom is also sunk, heightening the rip of light by an additional meter. As a result of this layout, the student can opt for a smaller, more private space (namely his room and the outdoor area

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Student residence in Lisbon, housing building lower floor plan


Portfolio

Project II

adjacent to it) as well as for a wider, more social space (the common room with the kitchenette); this is because in a student residence we can break the idea of privacy as thought of in normal housing, since there is strong encouragement of sociability. In the common rooms we can find a counter with all the cooking-related apparel and although it can be divided into two areas (one more private, interior, and one more public) this division is easily broken as the window making it can be fully opened, combining these two areas into just one. The outdoor areas vary according to whatever which way the modules are facing, so as in the ones facing north we can find smaller outdoor areas and larger indoor ones while in the ones facing south we can find just the opposite, creating a variety of choice for residents since social dynamics also change through this distinction. So, while to the north the rooms are for fewer people (single or double), to the south the rooms are meant to relate to more ample and social areas, being thus for more students each, though there are still single and double rooms. There is also the possibility of requesting a room with personal bathrooms and which have easier access to (since they are in the ground floor), making them more socially comfortable. Two elevators in a single shaft make up for the access in each of the housing units, as it will be the prime choice of the students, due to the extensive height of the modules. The entrytowards the elevator shafts varies from module to module, being the case that it is always covered and of ease of access due to potential emergencies.

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Student residence in Lisbon, housing building uper floor plan


Student residece in Lisbon, Hand made model

Student residece in Lisbon, Hand made model


Project II . 3rd Year (6th Semester) . Professores: Arq. Ricardo Bak Gordon Arq. Rui Mendes . Project: Location:

Trafaria, Almada, Portugal

Program:

Valorization of the territory

Objective:

.Improve the edentity of the territory by seeking its potential;

.Design a building within the strategy developed for the urban proposal.


Portfolio

Project II

Strategy / Regional analysis:

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Trafaria village. Military heritage photographs: Alpena Fort, building and view respectively

Trafaria village is mostly found inset in a region with null elevation, creating thus not only a very intricate connection to the river Tagus, but also a very strong, visual one with a terrain of higher (and natural) ground. It had come to be used, over the years, as a particularly important focus of military construction so nowadays these constructions have become obsolete, and were promptly abandoned. The first construction to be acknowledged refers to the 17th century: a large wall facing Tagus. The remaining three, however, are more recent, dating back to the 20th century and are found in the highest point of Trafaria.

Trafaria village. Military heritage photographs: Raposeira Fort, 2nd and 1st Battery respectively


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Portfolio

Project II

The proposal is that we value the land by indentifying and reusing the military heritage, creating a path that connects all four constructions and its various elevations in the land in which Trafaria is set. Prison Fort (1) – This first construction is located at Trafaria’s entrance and, since it is in direct contact with the village, a more temporary project is proposed, a culture hub. Alpena Fort (2) – Since this is a large-scaled construction endowed with a clean view over the river and a large field, a more permanent and more public project than the aforementioned is proposed. Raposeira Fort, 2nd battery (3) – Due to the high density of vegetation and trees and its seclusion from the path, a more intimate project is proposed, namely an area for rooms. Raposeira Fort, 1st battery (4) – Although it is also framed by a dense thicket, the 1st battery is not as detached from the proposed path as the 2nd one. Therefore, though intimate it may need be, a more public trait is required, and so a hostel is proposed. New Building (5) – It is the culmination of the path. Its objective will be to strengthen the highest point in Trafaria and will complement the first one by creating a different, very particular public space.

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Trafaria village, Plan of location


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Portfolio

Project II

Program:

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Trafaria village. Proposal plan

The proposal of the construction of the new building as an exhibition room arises with the purpose of effectively completing the path that leads up to it, the highest elevation, so as to strengthen the will to walk the path fully. The 1st battery of the Raposeira forts, made into a hostel, comes as a final military construction whose new program means to balance the public (as given by its close relation with the path) and the intimate (as given by its small scale and surrounding flora), so that a hostel is then proposed so as to be both acknowledging of the surrounding space and quite interactive in a more public condition. The new Trafaria Center for the Arts (exhibition rooms) is presented by a circular shape and is, as a whole, inset in the same elevation height in order to be able to truly and clearly belong to the land. Its circularity is foreshadowed throughout the path by the cannons, and its measures are defined in accordance with the scale of the 1st battery. Its concept as a space arises from the desire of radicalizing the imposition that the forts have on the land, being able to clearly draw out outdoor spaces in nature, such that the new space which spans circularly opens up to the sky and isolates itself from its surroundings. Trafaria village. Proposal section of the Hostel and new building


3 O desenho de uma nova construcção, com um programa de centro de exposições, surge com a 1 mais alta da Trafaria, de modo intenção de rematar o percurso no limite topográfico da cota 2 fortalecer a intenção de percorrer todo4o território. O forte da 1ª Bateria da linha de fortes da Raposeira, convertido num Hostel, aparece como última construcção militar, o seu novo programa é escolhido de modo a conseguir equilibrar um local público pelo seu enquadramento com o percurso, e ao mesmo tempo intimista pela sua escala, sendo que um hostel aparece então como um programa que aceita bastante bem os espaços existentes e consegue interagir com uma condição de espaço público. A implantação do Centro de Artes da Trafaria (centro de exposições) apresenta uma forma circular e insere-se todo na mesma cota de modo a conseguir pertencer de uma forma clara e óbvia ao terreno. A sua planta circular já vai sendo marcada ao longo percurso pelos canhões, e a sua escala é definida tendo em consideração a escala do forte da 1ªBateria. O seu conceito enquanto espaço surge do desejo de radicalizar a imposição que os fortes militares exercem sobre o terreno, conseguindo desenhar espaços exteriores claros no meio da natureza. Sendo que o novo espaço desenha uma forma circular que abre-se para o céu, isolando-o de toda a envolvente.

Corte tranversal 1.10

Fotomontagem (Ambiente do Hoste

1ª Bateria da linha de fortes Raposeira (novo Hostel)

Plan

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Portfolio

Project II

The hostel as the program for the 1st battery of the Raposeira forts comes with the purpose of turning the area into an

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Trafaria village, 1st battery photography

accommodation zone while staunchly preserving the existing construction. The room area is adaptative to the pre-existing module: three well lit areas intertwined by a central divisor, which contains the common room. The common room powers the bedrooms with electricity and holds the bathrooms, being primarily a place for public gettogether. The preservation and reenactment upon this abandoned space is materialized foremost through the application of new coatings on its comprising elements. 1.Exterior Walls – Painted plaster 2.Exterior Floors – Compacted grit 3.Interior Walls – Venetian stucco 4.Interior Floors - Stroked concrete

Trafaria village, 1st battery, template plan of the Hostel rooms


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Portfolio

Project II

The difference in elevation imprinted on the land by the

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Trafaria village, new building plan

circular space creates a moment of transition through a slope which forces a detachment in both time and space from all surroundings. The new construction is purposefully deprived of a specific program so as to easily adapt to temporary events. Its circular plan aims at making clear the intention of valuing the sky as the only landscape, such that only two separate areas are drawn out on the inside which, when added to the entry slope, make up for a set of three circular spans. The first area is possibly a library which establishes a function for the construction throughout the year, and holds two support rooms: a storage unit and a dressing-room. The second area holds another entry point comprised of a staircase which establishes a strong visual connection with São Lourenço fort.

Trafaria village, new building section


Portfolio

Project II

Construction Detail: By imposing itself on the land and dominating the new semisunk circular space, the building needs to be materialized in a way such that its power is embodied. The cyclopean concrete (roman concrete â&#x20AC;&#x201C; the cement is mixed with the raw local stone) is thus the best and most viable material for the construction since it is highly tolerant of compression and can acquire the desired thickness economically. Inside the sphere itâ&#x20AC;&#x2122;s used projected concrete in order to grant a strong dynamic with the outdoors, which formwork is made up of 4 by 4 meter modules aligned by a diagonal so as to emerge a spiraled stereotomy which can strengthen the tension created throughout the slope from the very entrance of the building. The windows are shut by series of doors laid out in a metallic grid that can both solve possible humidity problems and emphasize the hard concrete structure as a raw construction

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Trafaria village, Construction detail section


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André Santos | Tiago Tresca André Santos | Tiago Tresca Projecto VI | Vila da Trafaria Projecto VI | Vila da Trafaria André Santos | Tiago TrescaMILITAR RE-ACTIVAÇÃO DO PATRIMÓNIO RE-ACTIVAÇÃO DO PATRIMÓNIO Projecto VI | Vila da Trafaria MILITAR RE-ACTIVAÇÃO DO PATRIMÓNIO MILITAR

Construção: Construção: Construção: A diferença de cota que o espaço circular proposto impõe sobre o terreno cria um momento de A diferença de cota que o espaço circular proposto impõe sobre o terreno cria um momento de transição gerado por uma rampa que força um distanciamento de tempo e espaço em relação a A diferença de cota espaçoque circular impõe sobre terreno cria um em momento transição gerado porque umao rampa força proposto um distanciamento deotempo e espaço relaçãode a toda envolvente. transição gerado por uma rampa que força um distanciamento de tempo e espaço em relação a toda envolvente. A nova construção assume-se sem programa definido de modo a conseguir facilmente adaptar-se toda envolvente. A nova construção assume-se sem programa definido de modo a conseguir facilmente adaptar-se a eventos temporários. A sua planta circular tem o objectivo de tornar claro a intensão de valorizar A nova construção assume-se sem programa definido de modo a conseguir adaptar-se a eventos temporários. A sua planta circular tem o objectivo de tornar claro afacilmente intensão de valorizar o céu como única paisagem, sendo desenhados apenas dois espaços interiores, que somando ao a temporários. A sua sendo planta desenhados circular tem oapenas objectivo tornar claro a intensão de valorizar o eventos céu como única paisagem, doisdeespaços interiores, que somando ao espaço de acesso à rampa forma um conjunto de três vãos circulares. O primeiro espaço desenha o céu como única paisagem, sendo dois espaços O interiores, somando ao espaço de acesso à rampa forma umdesenhados conjunto deapenas três vãos circulares. primeiro que espaço desenha uma possivel biblioteca que oferece uma função ao edificio durante todo o ano e duas salas de espaço de acesso à rampa um uma conjunto de três vãos circulares. O primeiro desenha uma possivel biblioteca queforma oferece função ao edificio durante todo o ano espaço e duas salas de apoio (arrumos e um camarim), o segundo contem outro acesso feito por escadas que uma biblioteca oferece ouma função contem ao edificio durante todofeito o ano e duas salasque de apoiopossivel (arrumos e um que camarim), segundo outro acesso por escadas estabelecem uma ligação visual com o forte de São Lourenço. apoio (arrumos um camarim), segundo contem outro acesso feito por escadas que estabelecem umaeligação visual com oo forte de São Lourenço. estabelecem uma ligação visual com o forte de São Lourenço.

Imagem Tridimencional (Ambiente de chegada) Imagem Tridimencional (Ambiente de chegada) Imagem Tridimencional (Ambiente de chegada)

Planta cota 77,50 Planta cota 77,50 Planta cota 77,50 ESCALA 1.75 ESCALA 1.75 ESCALA

1.75

Imagem Tridimencional (Ambiente do Espaço de Exposições) Imagem Tridimencional (Ambiente do Espaço de Exposições) Imagem Tridimencional (Ambiente do Espaço de Exposições) 82 82 82 81 81 81 80 80 80

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Corte ESCALACorte 1.75

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ESCALA ESCALA

Imagem Tridimencional ( Ambiente da Biblioteca) Imagem Tridimencional ( Ambiente da Biblioteca) Imagem Tridimencional ( Ambiente da Biblioteca)


Trafaria village, new building, entrance 3D Model

Trafaria village, new building, interior enviroment 3D Model

Trafaria village, new building, Library 3D Model


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Portfólio_TiagoTresca