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A R C H I T E C T U R E / C U R AT O R S H I P / E D I T O R I A L / I N S TA L L AT I O N S / C I N E M A / E V E N T S

DIANA

D I A N A S O U S A

SOUSA

porto, portugal +351 913 446 701 dianasousa.mail@gmail.com cargocollective.com/dianasousa

ARCHITECTURE PORTFOLIO


ARCHITECTURE/ C U R AT O R S H I P / EDITORIAL/ I N S TA L L AT I O N S / CINEMA/ EVENTS

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DIANA SOUSA

DESAFIOS URBANOS

[UN] VOID

GUINDAIS CINEMATHEQUE

P ROFIL E / RESUM E

ARCHITECTURE COMPETITION

‘ PERF ORM AN C E ARC H IT EC T U RE’ ARC H IT EC T U RE C OM PET IT ION

‘ GO ARC H IT EC T U RE’ ARC H IT EC T U RE C OM PET IT ION

JAN 2 0 1 2 / GU IM ARÃES, PORT U GAL

N OV 2 0 1 0 / PORT O, PORT U GAL

J A N 2 0 1 2 / P O RT O , P O RT U G A L

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SOFT ROCK

STUDENTS RESIDENCE

URBAN COLLECTIVE HOUSING

GAIA MUNICIPAL LIBRARY

‘KK POROSITY’ K ENGO KUMA INTERNATI O NAL W O RKSHO P

ACADEMIC PROJECT / PROJECT II [ FA U P ] P O RT O S C H O O L O F A R C H I T E C T U RE

AC AD EM IC PROJEC T / PROJEC T III [ FAU P] PORT O SC H OOL OF ARC H IT EC T U RE

AC AD EM IC PROJEC T / PROJEC T IV [ FAU P] PORT O SC H OOL OF ARC HITE CTURE

MAY 2 01 2 / PORTO , PO RTUG AL

J U N 2 0 0 7 / P O RT O , P O RT U G A L

JU N 2 0 0 8 / PORT O, PORT U GAL

JU N 2 0 0 9 / GAIA, PORT U GAL

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URBAN HOUSING IN KELVINGROVE

PARTIK LIBRARY

DÉDALO DISPLACE

JAPAN: CHAOS AND COSMOS

A CADEMIC PROJ ECT / STUDI O W O RK 4 [M A C ] MACKINTOSH SCHOOL OF ARCHITECTURE

A C A D E M I C P R O J E C T / S T U D I O WO R K 4 [ M AC] MACKINTOSH SCHOOL OF ARCHITECTURE

D EC 20 09 / GLAS G O W, UK

D E C 2 0 0 9 / G L A S G O W, U K

ARC H IT EC T U RE M AGAZIN E + L EC T U RES + SEM IN AR + C ATAL OGU E + W ORKSH OP + ART IN STAL L AT ION S + C ON C ERT S [ FAU P] PORT O SC H OOL OF ARC H IT EC T U RE

ARC H IT EC T U RE M AST ER D ISSERTATION [ FAU P] PORT O SC H OOL OF ARC HITE CTURE SEP 2 0 1 1 / PORT O, PORT U GAL

2 0 1 0 - 2 0 1 1 / PORT O, PORT U GAL

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PÁGINAS BRANCAS 2008

PUBLISHED WORK

A CITY IN BLOOM + MÁGUA

FURNITURE

A RCHITECTURE PUBLI CATI O N A EFAUP EDIT ORI ALS + Q UI DNO VI

A RT I C L E S / I N T E RV I E W / E V E N T S

SH ORT M OVIES

/ D R AWI N G S / T E S T I M O N I A L S

TAL L IN , EST ON IA / PORT O, PORT U GAL

D IY OSB C H AIR + C U RAT OR’ S L AB S TOOL + HOME OF F IC E

JAN 20 09 / PORT O , PO RTUG AL

2 0 1 2 / PORT U GAL

35 RECOMMENDATION LETTERS BEAT RIC E GAL IL EE ( U K) C U RAT OR AND WRITE R + N U N O BRAN D ÃO C OSTA ( PT ) ARCHITE CT

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DIANA SILVA SOUSA PORTO, PORTUGAL (+351) 913 446 701 DIANASOUSA.MAIL@GMAIL.COM

DI ANA SO USA I S A PO RTUG UESE ARCHI TECT BO RN I N PO RTO , PO RTUG AL, I N 1987. I N 2005 I S ADM I TTED I N FACULDADE DE ARQ UI TECTURA DA UNI VERSI DADE DO PO RT O (FA UP) WHERE STUDI ED ARCHI TECTURE FO R 5 YEARS. I N 2009 JO I NED THE ERAM US PRO GR A MME F O R O NE YEAR AT THE M ACKI NTO SH SCHO O L O F ARCHI TECTURE ( G LASG O W SCHO O L O F ART ) A ND I N 2 0 1 1 ACCO M PLI SHED HER M A I N ARCHI TECTURE AT FAUP WI TH THE THESI S “JAPAN: CHAO S A ND CO SMO S” , WO RK DRI VEN BY A TRI P M ADE TO JAPAN. BEI NG AN ACTI VE AND ENTHUSI ASTI C STUDENT, DI ANA HAS ALWAYS CO LLABO RATED I N CULT UR A L PRO JECTS AND EVENTS DEVELO PED WI THI N THE SCHO O L STUDENTS ASSO CI ATI O N. I N 2 0 0 8 , DI R ECT ED AND O RG ANI ZED “PÁG I NAS BRANCAS 2008”, AN ARCHI TECTURE PUBLI CATI O N O F P R O J ECT S F R O M ALL FAUP’S TEACHERS AT THE TI M E ( ADALBERTO DI AS, CAM I LO REBELO , NUNO BRANDÃ O CO STA , ALVES CO STA E SÉRI G O FERNANDEZ, M ANUEL G RAÇA DI AS, ETC. ) PLUS A TWO - DAY SEMI NA R A B O UT THE THEM E “THE O PO RTO SCHO O L”. WAS ALSO RESPO NSI BLE FO R THE “I NNER CI TY MA G A ZI NE” WHI CH FO LLO WED THE SEM I NAR O F THE SAM E NAM E, THE HANDM ADE JO URNAL “MA NI F EST O ” A ND A LO M O G RAPHI C PHO TO CO M PETI TI O N. AS A FI NALI ST STUDENT, DI ANA WAS EDI TO R- I N- CHI EF AT DÉDALO M AG AZI NE DEVEL O PI NG , A L O NG WI TH AN EDI TO RI AL TEAM , SEVERAL PRO JECTS AND EVENTS: I NTERNATI O NAL WO RK SHO PS, A RT I NSTALLATI O NS, LECTURES, CO NCERTS AND PUBLI CATI O NS, AS WELL AS THE I NTER NAT I O NA L SEMI NA R “DI SPLACE: DEVI ATI O NS O N ARCHI TECTURE PRACTI CE” WHI CH BRO UG HT TO G ETHER F O R T HE VERY FI RST TI M E WELL KNO WN “ALTERNATI VE” ARCHI TECTS AS DI DI ER FAUSTI NO , ENCO RE HEUR EUX, RAUM LABO R, RECETAS URBANAS, STALKER AND M ANY O THERS. EXPERI ENCED I N CURATO RSHI P AND EVENTS PRO DUCTI O N, SI NCE 2007 DI ANA ALSO AT T ENDS NUM ERO US WO RKSHO PS AND CO M PETI TI O NS AND CULTI VATES HER I NTERESTS I N PHO T O G R A PHY, CI NEM A AND CO O KERY.

ED U CAT ION A N D T RA IN IN G

20 05 - 2011 | M ASTER O F ARCHI TECTURE ( M . ARCH) | FACULDADE DE ARQ UI TECTUR A DA UNI VER SI DA DE DO PO RTO | PO RTO , PO RTUG AL | FI NAL CLASSI FI CATI O N 15/ 20 2011 | M ASTER’S THESI S | JAPAN: CHAO S AND CO SM O S | FACULDADE DE ARQ UI TEC T UR A DA UNI VERSI DADE DO PO RTO | FI NAL CLASSI FI CATI O N 16/ 20 20 09 - 2010 | ARCHI TECTURE EXCHANG E PRO G RAM | M ACKI NTO SH SCHO O L O F ARC HI T ECT UR E . G LASG O W SCHO O L O F ART | G LASG O W, UK 20 02 - 20 05 | SECO NDARY LEVEL O F EDUCATI O N: ARTS | ESCO LA JO SÉ M ACEDO FRA G AT EI R O | O VA R , PO RTUG AL | FI NAL CLASSI FI CATI O N 19, 4/ 20 JUN 20 04 | LEVEL 1 CERTI FI CATE I N ENG LI SH ( ESO L) ACCREDI TED BY THE UNI VERS I T Y O F CA MB R I DG E | FI NAL CLASSI FI CATI O N C JUN 20 0 0 | KEY ENG LI SH TEST ACCREDI TED BY THE UNI VERSI TY O F CAM BRI DG E | F I NA L CLASSI FI CATI O N PASS

C OM PET IT ION S A N D WOR K SH OPS

M AY 2012 | “KK PO RO SI TY” . KENG O KUM A WO RKSHO P | UNI VERSI DADE LUSÍ ADA | P O RT O , PO RT UG A L FEB 2012 | “CO NSTRUI R JUNTO ” . EXYZT BUI LDI NG WO RKSHO P | FÁBRI CA ASA . G UI MA R Ã ES EUR O PEA N CAPI TAL O F CULTURE 2012 | G UI M ARÃES, PO RTUG AL JAN 2012 | “M AKI NG CHAI RS” . FURNI TURE DESI G N CO M PETI TI O N PRO M O TED BY PA R EDES CENT R E O F FURNI TURE DESI G N | PAREDES, PO RTUG AL JAN 2012 | “PERFO RM ANCE ARCHI TECTURE” . ARCHI TECTURE CO M PETI TI O N CURAT ED B Y PEDR O G ADANHO | G UI M ARÃES EURO PEAN CAPI TAL O F CULTURE 2012, PO RTUG AL JAN 2012 | “DESAFI O S URBANO S” . ARCHI TECTURE CO M PETI TI O N | SELECTED FO R E XHI B I T I O N | PO RT O , PO RTUG AL NOV 2010 | 3D M O DELLI NG CO URSE O F RHI NO ( 19/ 20) , VRAY ( 15/ 20) AND G RASSHO PPER (1 8 / 2 0 ) | PO RTO , PO RTUG AL O CT 2010 | PRÉM I O ZO N 2010 . SHO RT M O VI ES CO M PETI TI O N | PO RTO , PO RTUG AL O CT 2010 | ARCHI TECTURE WO RKSHO P AT “G ET SET ART FEST” ( 3D M O DELLI NG WI T H R HI NO ) W I T H J O SÉ PEDRO SO USA AND JO ÃO BARATA FEYO | PO RTO , PO RTUG AL JUL 2010 | CI NEM ARCHI TECTURE I NTENSI VE I NTERNATI O NAL WO RKSHO P PRO M O TED B Y T HE EU | SELECTED PARTI CI PANT | TALLI N, ESTO NI A APR 20 08 | “PO RTO REDUX” . ARCHI TECTURE WO RKSHO P O RG ANI ZED BY CCRE AND DÉDA L O MA G A ZI NE | PO RTO , PO RTUG AL

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ED ITOR IA L PROJEC T S A N D C U LT U RA L EVEN T S

O CT 2011 | EDI TO R- I N- CHI EF O F DÉDALO 8 DI S: PLACE, ARCHI TECTURE M AG AZI NE. O CT 2011 | EDI TO R AND PRO DUCER O F DÉDALO DI SPLACE LAUNCH PARTY | PLANO B | PO RT O , PO RTUG AL SEP 2011 | M ASTER’S THESI S: “JAPAN: CHAO S AND CO SM O S” | FACULDADE DE ARQ UI T ECT UR A DA UNI VERSI DADE DO PO RTO | PO RTO , PO RTUG AL M AR 2011 | EDI TO R AND PRO DUCER O F DÉDALO DI S: PLACE LECTURES: DEVI ATI O NS O N A R CHI T ECT UR A L PRACTI CE | FACULDADE DE ARQ UI TECTURA DA UNI VERSI DADE DO PO RTO | PO RTO , PO RT UG A L M AR 2011 | EDI TO R O F DÉDALO DI SPLACE CATALO G UE O F DÉDALO DI SPLACE LECTUR ES M AR 2011 | PRO DUCER O F DÉDALO WRAP UP | PLANO B | PO RTO , PO RTUG AL JAN 2011 | PRO DUCER O F DÉDALO DI SPLACE BRI EFI NG LAUNCH PARTY WI TH LI VE C O NCERT O F BLO O DG RO UP ( I S) | FAUP | PO RTO , PO RTUG AL DEC 2010 | PRO DUCER AND TUTO R O F DÉDALO DI SPLACE I NTERNATI O NAL WO RKSHO P W I T H EA SA ABO UT PSHI CO G EO G RAPHY | PADARI A FERNANDO SANTO S | PO RTO , PO RTUG AL JAN 20 09 | PÁG I NAS BRANCAS 2008: ARCHI TECTURE BO O K | AEFAUP EDI TO RI AL + Q UI DNO VI | PO RT O , PO RTUG AL JAN 20 09 | PÁG I NAS BRANCAS 2008 2 DAYS LAUNCH SEM I NAR | FACULDADE DE ARQUI T ECT UR A DA UNI VERSI DADE DO PO RTO | PO RTO , PO RTUG AL 20 07- 20 09 | EDI TO R I N CHI EF O F AEFAUP EDI TO RI AL PRO JECTS 20 09 | M ANI FESTO FANZI NE ( 3 I SSUES) | FAUP | PO RTO , PO RTUG AL M AR 20 09 | I NNER CI TY M AG AZI NE ( 2 I SSUES) | FAUP | PO RTO , PO RTUG AL FEB 20 08 | LO M O G RAPHI C PHO TO G RAPHY CARNI VAL CO M PETI TI O N | AEFAUP + PO RT UG UESE LO M O G RAPHI C EM BASSY | FAUP | PO RTO , PO RTUG AL

PER SON A L SK IL L S A N D C OM PET EN C ES

G REAT CAPACI TY I N LEADERSHI P, CO LLABO RATI O N, TEAM WO RK AND I NTERDI SCI PL I NA R I T Y. CA N EA SI LY ADAPT TO DI FFERENT WO RKI NG CO NTEXTS . EXPERI ENCED I N CULTURAL AND ARCHI TECTURE EVENTS PRO M O TI O N AND O RG ANIZAT I O N. WO RKED AS A STUDENT AND AS A PRO FESSI O NAL I N ARCHI TECTURE CURATO RSHI P. EXPERI ENCED I N EDI TO RI AL AND FURNI TURE DESI G N.

T EC H N ICA L SK IL L S A N D C OM PET EN C ES

EXPERI ENCED I N PHYSI CAL AND VI RTUAL M O DEL M AKI NG AND FREEHAND DRAWI NG . ARCHI CAD / RHI NO CERO S / VRAY / G RASSHO PPER / ADO BE PHO TO SHO P / ADO BE I NDESI G N / A DO B E I LLUSTRATO R / ARTLANTI S STUDI O / FI NAL CUT / G O O G LE SKETCH UP

PER SON A L IN T ER EST ES

PHO TO G RAPHY / CO O KERY / TRAVEL / ART / CI NEM A

L A N GUAGES

PO RTUG UESE ( M O THER TO NG UE) ENG LI SH ( ADVANCED WRI TI NG AND SPEAKI NG ) SPANI SH ( EM PI RI C KNO WLEDG E) FRENCH ( BASI C WRI TI NG AND SPEAKI NG )

DRI VI NG LI CENCE O F CATEG O RY B

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D E S A F I O S

U R B A N O S

/STUDENTS ARCHITECTURE COMPETITION /JANUARY 2012 /PORTO, PORTUGAL

U R B A N R E H A B I L I TAT I O N + H O U S I N G + O F F I C E S + L O C A L C O M M E R C E I N C O L L A B O R AT I O N W I T H I R I N A M I R A N D A ( P T ) / I S A B E L G O M E S ( P T ) / M A R G A R I D A T R AVA N C A ( P T ) / S O R A I A F E R N A N D E S ( P T )

THE FOLLOWING PROPOSAL AIMS TO ENHANCE AND PRESERVE THE IDENTITY OF THE HISTORIC CITY CENTER OF PORTO, THUS MAINTAINING THE CHARACTER, APPEARANCE AND GENERAL FEATURES OF THE THREE BUILDINGS THAT CONSTITUTE THE UNIT OF THE SOUTO STREET BLOCK, INSERTED IN AN AREA DESIGNATED AS WORLD HERI TAGE BY UNESCO. THUS, THE INTERVENTION INVOLVES THE PRESERVATION OF THE ORIGINAL FACADES CONFIGURATION (EAST AND WEST), WHICH WERE THE MAIN ELEMENT TAKEN AS A STARTING POINT AND THE BASIS FOR THE DEVELOPMENT OF THE ENTIRE PROPO SAL. FOLLOWING A BRIEF ANALYSIS OF THE THREE BUILDINGS, AND DUE TO THEIR CONSIDERABLE STATE OF DEGRADATION, WE CONSIDERED THAT THEIR COMPLETE RECONSTRUCTION WOULD BE NECESSARY. THEREFORE, WE OPTED TO UNIFY THE THREE VOLUMES IN A SINGLE BUILDING, WHICH ALLOWED THE INTERIOR SPACES TO OBTAIN GREATER QUALITY AND BIGGER INTEREST. THIS WAS ALSO A WAY TO RECTIFY THE OLD FACADE WHICH STOOD BEFORE THE FORECOURT AND TO CREATE NEW OPENINGS, THUS ACHIEVING A NEW CHARACTER AND HIGHER SANITATION LEVEL IN COMPARISON WITH THE EXISTING ONES. IN REGARDS TO THE INNER ORGANIZATION, EACH APARTMENT WAS DESIGNED WITH YOUNG USERS AND STUDENTS IN MIND; SO THE BASIC CONCEPTS WERE FLUIDITY, CONTINUITY AND FUNCTIONALITY, ATTEMPTING TO CONCEIVE PRACTICAL SPACES AND ACHIEVE A GREAT LEVEL OF COMFORT. EACH APARTMENT IS MARKED BY THE PRESENCE OF A FUNCTIONAL BOX, WHERE THE BATHROOMS, CLOSETS AND STORA GE FURNITURE ARE. THE REMAINING SPACES ARE DEVELOPED FROM THIS BOX, SUCH AS THE LIVING ROOM, KITCHEN AND BEDROOMS. THREE OF THE NINE APARTMENTS WERE DESIGNED AS DUPLEXES WHICH ALLOWS FOR A GREATER SPATIAL FLEXIBILITY.

THE BUILDING HAS A VARIED HOUSING TYPOLOGY, IN A TOTAL OF THREE T0, ONE T1 SIMPLEX, THREE T1 DUPLEX AND, AT LAST, TWO T2 SIMPLEX. THE PROPOSAL AIMS TO RECONCILE BOTH THE EXISTING AS WELL AS THE CONTEMPORARY, CONJUGATING TRADITION AND INNOVATION.

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V O I D

/PERFORMANCE ARCHITECTURE . ARCHITECTURE /JANUARY 2012 /GUIMARÃES, PORTUGAL

COMPETITION

P E R F O R M AT I V E A R C H I T E C T U R E + T H R E A D P A V I L L I O N S + C O N C E R T S P A C E I N C O L L A B O R AT I O N W I T H V I T O R D E C A S T R O L O P E S ( P T ) / S O R A I A F E R N A N D E S ( P T )

“A N A R E A WI TH N O C L E AR BOU N D AR IE S, N O C U R R EN T U SE, VA GU E, D IFFIC U LT TO U N D ERSTAND BY THE CO LLE C T IV E P E R C E P T ION OF C ITIZEN S, U SU A LLY FOR MIN G A B R EA K IN TH E U R B AN FA B R I C. B UT I T IS AL S O A N AVAIL A BL E A R EA , FU LL OF EXPEC TATION S, W ITH STR ON G U R BAN M E M O RY A ND U N IQU E P OT E N T IAL : T H E SPA C E OF TH E POSSIB LE, TH E SPA C E OF TH E FU TURE” *IG NA S I DE S OL À -M ORA L E S PE R FO R M A NCE A RC H IT E C T U R E , AN IN T ER N ATION A L C OMPETITION OF ID EA S IN TEGR ATED I N THE PR O G R A M G UI M AR ÃE S 2 0 1 2 - E U ROP E A N C A PITA L OF C U LTU R E, PR OPOSED A R ETH IN K IN G O F TE M P O R A RY ST RAT E GIE S - A RC H IT E C T UR A L A N D U R B A N - TO IN TEGR ATE TH E PU B LIC SPACE O F THE CI TY. OUR P R O J E CT T H U S IN T E N D E D T O U S E IT A S A R ESOU R C E TO TH E C R ITIQU E OF TH E SOC I AL IN THE R E I NV E N T ION OF T H E P U BL IC S PA C E, W ITH PA RTIC U LA R R ELEVA N C E B EIN G GIVEN TO THE I M P O RTA N C E OF T H E IN T E RA C T ION W ITH TH E C OMMU N ITY. U N (VOID S) C OMES FORTH I N THE NE E D TO R E V ITA L IZ E AN D C ON N E CT SOME OF TH E SPA C ES W H IC H A R E N OT D U LLY N O T QUA LI FI E D, LAT E N T OR E X P E C TAN T, IN T H E PER IMETER OF TH E C ITY, W H IC H W E FELT EA R LY ON TO B E A P P ROP R IAT E F OR T H E P U R POSE OF TH IS C ON TEST. TH AT IS TO SAY TH AT OU R M AI N PR E M I S E WO U L D B E T O RE S P ON D T O T H E PR OGR A M B U T A LSO TO U SE IT A S A “ R EMIN D ER” FO R SPA CE S WHI CH , IN OU R OP IN ION , D E S ERVE OU R ATTEN TION W ITH IN TH E U R B A N C ON TEXT. WE S E LE CTE D F OU R U R BA N A RE A S W H ER E TH E EVID EN C E OF TH E “ VOID ” R ESU LTS FR OM SO M E K I ND O F AB S E N C E W H E N C ON F RON TED W ITH TH E SOC IA L A N D U R B A N MATR IX, B E IT A Q UE S TI O N OF D E F IN IT ION OF T H E P H YSIC A L SPA C E, OF TH E SYMB OLIC A L SPA C E, OR EVEN SPA CE S WHI CH AR E D IF F IC U LT T O U N D ER STA N D B Y TH E C OLLEC TIVE PER C EPTION OF TH E CI TI Z E NS , WHIC H AL S O C ON S T IT U T E S A B R EA K W ITH TH E U R B A N FA B R IC . OUR S TR ATE G Y WAS T O “ F IL L T H E V OID” W ITH A “ MA SS” OF MEA N IN GS A N D VA LU ES, HI G HLI G HTI NG T H E C IT Y, IT S S U RR OU N D IN GS A N D SOC IA L IN TER A C TION . TO TH IS EN D , AND WI TH THE HE L P OF T H E L OC AL S E RV IC ES, N A MELY TH E TEXTILE A N D PLA STIC MA N U FA C TURI NG INDUS TR I E S , W E D E S IGN E D F OU R S T R UC TU R ES TH AT W OU LD SIMU LATE A D EN SE “ MA SS” OF V E RTI CA LLY H AN GIN G W IR E S . S T RATEGIC A LLY PLA C ED IN FOU R SELEC TED POIN TS OF GUI M A R Ã E S , T H E S E S T R U C T U R E S AR E AD A PTA B LE TO EA C H SITE STR ESSIN G TH E EXH IB ITED VA LUE S ​​A ND M E M ORIE S . THE FI R S T S PA C E IS IN T H E L AR GO C ÓN EGO JOSÉ MA R IA GOMES A N D A LTH OU GH IT POSSESSES AN I NCR E DI B L E S PAT IAL W E A LT H , IT L AC K S SOC IA L IN TER A C TION , OPER ATIN G ON LY A S A SPA CE FO R PA S S AGE OF A L L T H OS E E N TER IN G A N D LEAVIN G TH E C ITY, B U T W H O D ON ’ T EVEN CR O S S I T. THU S , OU R S T RAT E GY F OR T HIS SITE WA S TO “ FILL TH E VOID ” W ITH W H IC H W E FACED OUR S E LV E S A N D P ROJ E C T U N T O IT VA RIOU S C YLIN D R IC A L OB JEC TS ILLU MIN ATED B Y A WHI TE LI G HT B A S E , W H IC H E MB OD Y IN G T H E PEOPLE A N D TH E LIFE TH AT TH IS FOR EC OU RT D ESERVES. THE S E CO ND S IT E , IN T H E P R AÇ A D E S . TIA GO, W E IN TEN D ED TO C R EATE A STR ON G CO NNE CTI O N BE T W E E N T H E S PA C E W H I C H IS TH E C ITY’ S MA IN SQU A R E – PR A Ç A D A OLIVEI RA AN D THE FI R S T ON E W H IC H P R E C E D E S IT. TH E PU B LIC SPA C E B ETW EEN TH EM IS C ON TIN UO US BY M E A NS O F A N U N D E RGR OU N D PA S S AGE U N D ER N EATH A “ B R ID GE” B U ILD IN G, SO TO SPEAK. THI S UNI O N S HA LL T H E N B E RE IN F ORC E D B Y TH E “ R EMIN D ER ” FR OM TH E PR A Ç A D E S. TIA GO WHI CH THUS I NTE NDS T O B E A PA RT OF T H E F ESTIVE EN VIR ON MEN T A N D C OMMU N ITY SPIR IT W H I CH I S DA I LY E X P E R I E N C E D AT T H E P RA Ç A D A OLIVEIR A . THE THI R D P LA C E , L OC AT E D IN A N OL D EN TR A N C E OF TH E MED IEVA L SEC TION OF TH E C ITY, EM B O DI E S THE “ C IT Y D OOR ” . IT RE C OVER S TH E MEMORY OF TH IS PLA C E, W E EXTEN D ED T HE CI TY WA LL WH IC H E N C IR C L E S T H E OL D C ITY A N D PR OJEC TED IN TH E D EN SITY OF W IR ES “DO O R ”, THUS MAT E R IAL IZ IN G T H E IMP ORTA N T IN TER A C TION A N D OPEN N ESS B ETW EEN THE O LD TO WN A ND THE C ON T E M P ORA RY C IT Y. AS THE FO URT H U R BA N V OID , W E C H OSE TH E LA R GO C ON D ESSA D O JU N C A L/A C A D EMIA DE M ÚS I CA VA LE N T IM MOR E IRA D E S Á W H ER E W E PR OJEC TED A B A N D STA N D TH AT R EFER S THE PR E S E NCE O F AN OL D S IMIL A R P L A C E , W H IC H W OU LD N OW ESTA B LISH A GR EAT R ELATIONSHI P WI TH THE M US IC S C H OOL W H IC H E X IS T S IN TH AT PA RTIC U LA R PLA C E. TH E FOR M OF A N EM PTY BA NDS TA ND AP P E AR S AS A N E MP T Y S PA C E OF A MA SS OF W IR ES W H IC H OC C U PIES FILLS THE ENTI R E TR I A NG U L A R S IT E W H IC H S U R ROU N D S IT. LIK E TH E PR EVIOU S IN TERVEN TION - THE CI TY DO O RWAY - HERE W E A L S O IN T E N D E D T O R EC OVER OLD MEMOR IES OF TH E C ITY, B U ILD ING THE BA NDS TA ND BAS E D ON T H E S IM P L E AN D SOLE B A SIS W H IC H R EMA IN ED FR OM TH E OLD O NE. SUR R O UNDE D BY A GAR D E N , A MU S IC SC H OOL A N D A C H U R C H , TH IS SPA C E W ILL A C T A S AN EX CE LLE NT S OC IA L BIN D E R AN D C E N T ER TO D IVU LGE A N D D ISSEMIN ATE N EW TA LEN T, B E I T M US I C O R THEAT E R. THE S TR ATE G Y OF OU R P R OP OS AL A IM S U LTIMATELY TO R EPR ESEN T IN TH E VOID TH E MEANI NG S, NE E DS A ND M EM ORIE S OF P L A C E S , D U E TO TH E FIR M B ELIEF TH AT IT SH A LL B E B Y MEA N S O F THE CO HA B I TAT ION W IT H T H E C ON T E MPOR A RY C ITY TH AT TH E OLD TOW N W ILL GA IN A N EW LI FE.

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C I N E M A T H E Q U E

/GO! ARCHITECTURE . 24H STUDENTS ARCHITECTURE /NOVEMBER 2010 /PORTO, PORTUGAL

C I N E M AT H E Q U E + T E M P O R A R Y E X H I B I T I O N S P A C E + L I B R A R Y + A D M I N I S T R AT I V E O F F I C E S + C A F É + R E S TA U R A N T I N C O L L A B O R AT I O N W I T H I S A B E L G O M E S ( P T ) / S O R A I A F E R N A N D E S ( P T )

CINEMA IS MOVING IMAGES, WHERE IN A PRAGMATIC MANNER IT IS ADMITTED THAT THE OBSERVER IS A FIXED ELEMENT CONDITIONED BY THE PROJECTION SCREEN. HOWEVER, THE CONTEMPORARY ERAS ENCOURAGE US TO REFLECT AND THINK ABOUT THE ROLE OF THE SUBJECT AND THE CINEMA IN THE ACT OF PROJECTING. THUS, WE DECIDED TO SUBVERT THE RELATIONSHIP BETWEEN “SCREEN / VIEWER” AND PROPOSE A NEW RELATIONSHIP. THE SCREEN APPROACHES IN A MORE INTIMATE MANNER, ENVELOPING THE VIEWER, CREATING A NEW DYNAMICS, WHICH PROVIDE THE CINEMA WITH A MORE VERSATILE AND FLEXIBLE CHARACTER. THIS IS VISIBLE AT THE PROGRAMMATIC LEVEL IN THE MANNER HOW THE INTERVENING PARTIES FREELY DRAW THE SPACES / PROJECTI ON ROOMS. TO THIS END, WE USED A CURTAIN / PROJECTION SCREEN SYSTEM SUPPORTED BY TRACKS. THESE TRACKS, WHICH IN THE COVERAGE / PUBLIC SPACE, GUIDE FLEXIBLE TEMPORAL STRUCTURES AKIN TO ORIGAMI SCULPTURES. THESE SPACES HOUSE AT A PROGRAMMATIC LEVEL EXHIBITIONS, TEMPORARY OUTDOOR SCREENINGS, LEISURE SPACES FOR PUBLIC SERVICE, FOR ALL THOSE SEDUCED BY THE DRAWING OF AN OLD WALL COMING FROM THE LARGO ARNALDO GAMA. AT NIGHT THESE TRACKS ARE OUTLINED BY LED LIGHTS THAT ACCOMPANY THE MOVEMENT OF THE CURTAINS ON THE LOWER FLOOR, DEMONSTRATING THE CONSTANT CHANGE OF THE BUILDING. A REFLECTION OF THIS IS THE NEAR ABSENCE OF THE FACADE, IN WHICH THE SCREEN “SELFISHLY” TAKES CENTER STAGE, WHICH IS SOMEWHAT PREDICTABLE AT A PROGRAMMATIC AS WELL AS A VISUAL LEVEL, THUS BECOMING A CONCEPT IMAGE - DESIGN - BUILDING. PARALLEL TO THE FLEXIBILITY OF THE MAIN ROOM, THERE IS A WHOLE VERSATILE EQUIPMENT AND ORGANIZATION DESIGN. HENCE THE EXISTENCE OF FURNITURE CELLS, WHICH CONTAIN THE PROGRAMME, SUCH AS, THE OFFICES, ARCHIVE AND MEDIA LIBRARY, WHICH ARE EASILY MOVED AND THUS DESIGN THEMSELVES DIFFERENT SPATIAL CONFIGURATIONS. THE BUILDING IS ACCESSED BY TWO LEVELS: AT LARGO ARNALDO GAMA AND BY THE GUINDAIS STAIRCASE. TO THE FIRST, WE ADDED A LIGHT AND RHYTHMIC PATH FILLED WITH PANELS WITH CULTURAL AGENDAS. THE SECOND IS FOUND SINUOUSLY INBETWEEN THE TIGHT MESH TYPICAL OF PORTO.

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COMPETITION


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S O F T

R O C K

/KENGO KUMA POROSITY WORKSHOP / M AY 2 010 / P O RTO P O RT U GA L

/

PORTO,

T E M P O R A R Y I N S T L L AT I O N M A D E W I T H P O R T U G U E S E C O R K AT L U S Í A D A ’ S B A R O P E N S P A C E /TUTOR: REN ITO

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LUSÍADA

UNIVERSITY


S T U D E N T S / A C A D E M I C P R O J E C T / F A U P, P O R T O /JUNE 2007 /PORTO PORTUGAL

R E S I D E N C E SCHOOL

OF

ARCHITECTURE

STUDENTS RESIDENCE + CAFÉ&GALLERY BUILDING /PROJECT II /TUTOR: DANIEL OLIVEIRA

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U R B A N

C O L L E C T I V E

/ A C A D E M I C P R O J E C T / F A U P, P O R T O /JUNE 2008 /PORTO PORTUGAL

SCHOOL

OF

ARCHITECTURE

URBAN MASTERPLAN + COLECTIVE HOUSING + GARAGE + COMERCIAL AREAS + PUBLIC GREEN AREA /PROJECT III /TUTOR: RUI RAMOS

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H O U S I N G


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G A I A

M U N I C I P A L

/ A C A D E M I C P R O J E C T / F A U P, P O R T O /JUNE 2009 /GAIA, PORTUGAL

SCHOOL

OF

C H I L D R E N L I B R A R Y + A D U LT S L I B R A R Y + A U D I T O R I U M + C A F É + A D M I N I S T R AT I V E O F F I C E S + C A R P A R K / P R O J E C T I V / T U T O R : N U N O B R A N D Ã O C O S TA

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ARCHITECTURE

L I B R A R Y


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U R B A N

H O U S I N G

/ACADEMIC PROJECT / MACKINTOSH SCHOOL /DECEMBER 2009 /GLASGOW, SCOTLAND, UK

URBAN HOUSING + OUTDOOR CINEMA + CLIMBING WALL /STUDIO WORK 4 /TUTOR: HENRY MCKEOWN

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OF

I N

ARCHITECTURE

K E L V I N G R O V E [GSA]


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P A R T I K

L I B R A R Y

/ACADEMIC PROJECT / MACKINTOSH SCHOOL /MAY 2010 /GLASGOW, SCOTLAND, UK

PUBLIC LIBRARY + CAFÉ + KINDERGARTEN /STUDIO WORK 4 /TUTOR: TONY BARBER

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OF

ARCHITECTURE

[GSA]


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D É D A L O

# 8

/ARCHITECTURE MAGAZINE FROM FAUP /SEPTEMBER 2010 - OCTOBER 2011 / PORTO,

D I S P L A C E PORTUGAL

L E C T U R E S + S E M I N A R + C ATA L O G U E + M A G A Z I N E + W O R K S H O P + P A R T I E S + A R T I N S TA L L AT I O N S / A S E D I T O R I N C H I E F AT D É D A L O # 8 / W W W . R E V I S TA D E D A L O . C O M

DISPLACE LECTURES: DEVIATIONS ON ARCHITECTURAL PRACTICE + CATALOGUE + WRAP UP PARTY MARCH 31ST - APRIL 2ND - FAUP, PORTO CURATORS (DÉDALO #8 EDITORIAL TEAM): CARLOS TRANCOSO, DIANA SOUSA, JORGE ALVES, NUNO PIMENTA, SORAIA FERNANDES SPEAKERS: BEATRICE GALILEE (UK) / PEDRO GADANHO (PT) / DIDIER FIUZA FAUSTINO (FR) / RAUMLABOR (DE) / RECETAS URBANAS (ES) / ENCORE HEUREUX (FR) / MODULORBEAT (DE) / PEDRO BANDERIA (PT) / FELD 72 (AT) / STALKER (IT) / MOO V (PT) / EXYZT (FR) / DÉDALO #8 EDITORIAL TEAM / DATA (PT) / DASS (PT) / MIGUEL C. TAVARES (PT) / OSMD (PT) DÉDALO DISPLACE LAUNCH PARTY LECTURES + INSTALLATION + GIG + DJS OCTOBER 2011, PLANO B, PORTO SPEAKERS: DÉDALO #8 TEAM / R2 DESIGN (PT) / STÉPHANE MALKA (FR) INSTALLATION: PLANO X BY DOSE (PT) DÉDALO BASH: THROES + THE SHINE (LIVE) / SUSHI RIDDIM SQUAD / LUDOVIC / SOLDADO FUNK AKA HUGO C. / TMSQ+KETA / JOÃO SANTOS+RICARDO LEAL VIDEO MAPPING: AN AWESOME FELLA (PT) DÉDALO #8 DISPLACE ARCHITECTURE MAGAZINE - OCTOBER 2011 EDITORIAL TEAM: CARLOS TRANCOCO, DIANA SOUSA, JORGE ALVES, NUNO PIMENTA, SORAIA FERNANDES
 DESIGN: JOÃO SANTOS
, RICARDO LEITE LANGUAGE: PORTUGUESE/ENGLISH
 SIZE: 24 X 17 CM
 NUMBER OF PAGES: 118 + 78 CONTENT: HAUS-RUCKER-CO (AS) / FELD 72 (AS) / OLIVIER RATSI (FR) / RECETAS URBANAS (ES) / INÊS D’OREY (PT) / RAUMLABOR BERLIN (DE) / STÉPHANE MALKA (FR) / ENCORE HEUREUX (FR) / PEDRO BANDEIRA (PT) / SIMON SADLER (US) / MARK LEE (US) / PEDRO GADANHO (PT) / ATELIER DATA (PT) / PEDRO BAÍA (PT) / DASS (PT) / ÁLVARO DOMINGUES (PT) / CATARINA COSTA (PT) / RICARDO LEAL (PT) / INÊS ALVES (PT) / DIANA VIEIRA (PT) / VITÓRIO VASCONCELOS (PT) / SOFIA AUGUSTO (PT) / JOSÉ MARTINS (PT)

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J A P A N : C H A O S / A R C H I T E C T U R E M A S T E R D I S S E RTAT I O N /SEPTEMBER 2011 / PORTO, PORTUGAL

AT

FAUP

M A S T E R D I S S E R TAT I O N + E D I T O R I A L D E S I G N O N T H E W E B : H T T P : / / I S S U U . C O M / D I A N A S S / D O C S / J A PA O _ C A O S _ C O M O S

TRAVEL IS, I THINK, THE BEST WAY TO LEARN ARCHITECTURE. AS A RESULT, THIS DISSERTATION IS CREATED FROM A PHYSICAL EXPERIENCE LIVED WHILE I WAS VISITING JAPAN. SY BY SIDE WITH THEORIES, ARGUMENTS AND IDEAS FOR AN ARCHITECTURE,SOME PONTUAL EPISODES WRITTEN IN THE FIRST PERSON ALLOW TO A BETTER UNDERSTANDING AND APROXIMATION OF THE TRUE FEELING OF THIS COUNTRY. A FUNDAMENTAL CHANGE IS CURRENTLY TAKING PLACE IN SOCIETY: FOR THE FIRST TIME IN HISTORY, HALF OF THE WORLD’S POPULATION LIVES IN BIG CITIES, DENSE AND HIGHLY URBANIZED. IN THIS CONTEXT, JAPAN AND, MORE FOCUSEDLY, THE CITY OF TOKYO, PROVIDE IMPRTANT AND INTELIGENT ARCHITECTONIC EXPERIENCES THAT RAISE AT LEVELS NEVER SEEN BEFORE THE INVESTIGATION OF PROBLEMS CAUSED BY THE NEED OF SPACE TO DWELL IN BIG CITIES. IMPORTANT STEPS TAKEN ON EVERY HOUSE PROJECT FOR A BIG CITY START FROM CURRENT AND CULTURALLY SPECIFIC NOTIONS OF PROXIMITY, PRIVACY AND RELATIONSHIPS BETWEEN RESIDENTS. SPACE HAS EVOLVED. IT IS NOT SUBORDINATED TO BOUNDARIES AND MATHEMATICALLY CALCULATED FUNCTIONS ANYMORE. NOTIONS OF LIMIT ARE INCREASINGLY APPROACHING A TRANSPARENCY THAT IS NOT MATERIAL BUT WHICH EXTENDS ALONG THE ABSTRACT FIELD OF THE INFORMATION NETWORKS OF URBAN AREAS. DESPITE ITS RECESSION, JAPAN IS TODAY ONE OF THE MOST DEVELOPED ASIAN COUNTRIES AND CULTURALLY PROXIMATE TO THE OCIDENTAL WORLD. AS AN ESSENCIAL FORCE OF THE ARCHITECTONIC GROWTH, EVERY IDEA PROPOSED AT THE EVOLUTION PROCESS OF JAPANESE CITIES CONTRIBUTE TO A NEW MEANING OF DWELLING AND INFLUENCE, DIRECTLY OR NOT, A GLOBAL KNOWLEDGE OF LIVING IN URBAN AREAS. MOST OF ALL, THEY ARE EXPERIENCES THAT CHALLENGE SOCIAL STABLISHED NORMS AND OFFER NEW ALTERNATIVES THAT SIMULTANEOUSLY SHAPE THE LIFE OF THE RESIDENT AND THE FACE OF THE CITY.

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A N D

C O S M O S


P Á G I N A S

B R A N C A S

/ A R C H I T E C T U R E P U B L I C AT I O N B Y A E FA U P /JANUARY 2009 / PORTO, PORTUGAL

+

2 0 0 8

QUIDNOVI

B O O K O F A R C H I T E C T U R E P R O J E C T S B Y FA U P ’ S T E A C H E R S + 2 D AY S S E M I N A R [PORTO SCHOOL OF ARTCHITECTURE]

DIRECTION: DIANA SOUSA EDITOR: QUIDNOVI + AEFAUP PREFACE: DIANA SOUSA AND JORGE HALL EDITORIAL: JOSÉ MANUEL SOARES TESTIMONIALS: ALEXANDRES ALVES COSTA / TERESA FONSECA / MANUEL CORREIA FERNANDES / MANUEL GRAÇA DIAS / DOMINGOS TAVARES / NUNO GRANDE / RUI BRAZ AFONSO / FRANCISCO BARATA FERNANDES PROJECTS’ AUTHORS: ADALBERTO DIAS / ALBERTO LAGE / ALEXANDRE ALVES COSTA AND SÉRGIO FERNANDEZ / CAMILO REBELO / CARLOS GUIMARÃES AND LUÍS SOARES CARNEIRO / CARLOS MACHADO / CARLOS PRATA / FILIPA GUERREIRO / FRANCISCO BARATA FERNANDES / GONÇALO FURTADO / JOSÉ MANUEL SOARES / NUNO PORTAS, LUÍS VIEGAS, ALBERTO LAGE AND RUI CARDOSO / MANUEL GRAÇA DIAS / NUNO BRANDÃO COSTA / NUNO GRANDE AND PEDRO GADANHO / NUNO LACERDA / NUNO VALENTIM / PEDRO ALARCÃO / JOÃO PEDRO SERÔDIO / +MORE

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P U B L I S H E D /ARTICLES /INTERVIEW /EVENTS /DRAWINGS /TESTIMONIALS

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W O R K


A

C I T Y

/SHORT /2010

FILMS

I N

B L O O M

+

M Á G U A

WORKSHOP + COMPETITION

‘A CITY IN BLOOM’ TALLIN, JULY 2010 / CINEMARCHITECTURE INTERNATIONAL WORKSHOP IN COLLABORATION WITH: CARLOS TRANCOSO (PT) / CHRIS AMSTER (GB), DANIEL BROOKFIELD (GB) / JORGE ALVES (PT) / WILLIAM HENLEY (GB) SOUNDTRACK: DAM MANTLE (UK) ON THE WEB: HTTP://VIMEO.COM/31237114

‘MÁGUA’ PORTO, OCTOBER 2010 / COMPETITION PRÉMIO ZON 2010 IN COLLABORATION WITH: CARLOS TRANCOSO / JORGE ALVES /MARGARIDA TRAVANCA / TIAGO ASCENÇÃO SOUND: AND RÉ ALMEIDA SANTOS CLOTHING DESIGN: ELIZABETH TEIXEIRA / RICARDO ANDREZ JEWELLERY: LILIANA GUERREIRO ON THE WEB: HTTP://VIMEO.COM/32670851

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D I Y

O S B

C H A I R

/ART ON CHAIRS: ’MAKING CHAIRS’ DESIGN /JANUARY 2012 /PAREDES, PORTUGAL

COMPETITION

P E R F O R M AT I V E A R C H I T E C T U R E + T H R E A D P A V I L L I O N S + C O N C E R T S P A C E I N C O L L A B O R AT I O N W I T H V I T O R D E C A S T R O L O P E S ( P T ) / S O R A I A F E R N A N D E S ( P T )

WHY HO W S HO ULD W E TAL K AB OU T A C H AIR - A B OU T FU R N ITU R E? SU R E IT ISN ’ T EA SY TA LK IN G . PLA I N THI NG S AR E BE S T. M AY B E T H IS C OU LD EVEN B E MY A R C H ITEC T SID E SPEA K IN G, B UT THE WO R LD NE E D S S IM P L E T H IN GS . T O D AY A LMOST EVERYTH IN G H A S B EEN IN VEN TED A ND DE P LE TE D, A N D P E OP L E AR E T IRE D OF D EC OR ATIVISM A N D FA IRY TA LES. TOD AY W E N EED CHEAP AN D E A S Y P R OD U C T S ‘ C AU S E T H E R E ’ S A SER IOU S EC ON OMIC C R ISIS TO B E D EFEATED . WE NE E D S I M P L E - S IMP L E IN H OW IT ’ S B U ILD , H OW IT LOOK S A N D H OW IT FEELS. A N D A CHAI R SHO ULD B E J U S T AS T H AT, C OM F ORTA BLE A N D C LEA R . THE G R E ATE S T IN V E N T ION ON T H E A RT OF D ESIGN IN G PR OD U TC S TO SELL, B EEIN G IT AR CHI TE CTUR E OR A N Y OT H E R K IN D OF D ESIGN , IS TH E IN TER A C TION GA ME W ITH IN TH E USER AN D THE P R O D U C T. IF P E OP L E A RE T IR ED TH EY SU R E N EED A PU SH A N D GIVIN G TH EM THE CHA NCE TO PA RT IC IPAT E ON T H E IR P ROD U C T A SSEMB LY IS A GR EAT WAY OF GETTIN G TH EM INTE R E S TE D. AS A N A R CHI T E C T I D E S IGN F OR S OC IE TY, FOR TH E W ELL B EIN G OF MY C LIEN TS. TH IS SA I D, THE DI Y CHA I R - D O IT Y OU RS E L F - IS A N A MB ITION , IS A WAY OF TA K IN G MY SPA C E IN TENTI O NS AN D I DE A S TO A BIGGE R S C A L E . T H IS IS A WAY OF TA K IN G C H EA P D ESIGN TO A C OMPLET ELY DI FFE R E NT LE V E L , AN AP P E A L IN G ON E . OS B CHI P B O A RD - ORIE N T E D S T R AN D B OA R D - IS TH E ELEC TED MATER IA L. IT IS A N EN GINEERED WO O D PA NE L PROD U C T M AD E OF RE S IN -B ON D ED W OOD STR A N D S OR FLA K ES. TH E W OOD STR A NDS A R E P RE C IS E LY C U T A N D ORIEN TED IN OR D ER TO PR OD U C E A W OOD PA N EL W IT H UNI FO R M S TR EN GT H AN D D E N S IT Y. OS B M A NUFA C T U RE R S H AV E AN E N V IR O N MEN TA LLY FR IEN D LY C ON STR U C TION . TH E R ESINS US E D I N TO M A K E IT P ROD U C E V E RY L IT TLE EMISSION S. IT C A N B E MA N U FA C TU R ED FR OM A WI DE R VA R I E TY OF T RE E S P E C IE S T H A N PLYW OOD , IN C LU D IN G FA STER -GR OW IN G SPEC IES. I T CA N A LS O B E M AD E F ROM Y OU N GE R T REES A N D U SES MOR E OF A TR EE’ S W OOD . A S A R ESULT, THE FO R E S TS U S E D T O P R OD U C E OS B CA N B E MOR E R EA D ILY R EN EW ED TH A N TH OSE U SED TO PR O DUCE P LY W OOD . OR I E NTE D S TR AN D B OAR D C AN AN D S H OU LD B E R EC YC LED . WHAT THI S TI M E Y O U A RE PA RT OF T H E D E S IG N . 3 SIMPLE PIEC ES TH AT YOU C A N LOC K TOGETHER AN Y TI M E Y O U WAN T. NE E D A NY S PA C E F OR A D AN C E PA RT Y ? PU T IT R IGH T IN SID E YOU R C LOSET. N EED C H A IR S FO R A B I G B I RTHDAY PART Y ? P IC K AS MU C H H A S YOU C A N FR OM TH E GA R A GE A N D SET TH EM UP. AN D I F Y O U FEE E L T H E N E E D F OR A N EW C LEA N D ESIGN LOOK AT H OME JU ST LEAVE IT THERE TO WA R M UP YOU R F E E L IN GS . IMA GIN E YOU R B EST FR IEN D IS OR GA N IZIN G A B A R B EC U E AND DO E S N’T HAV E AN Y S PAR E C H AIR S .IT IS YOU R C H A N C E TO PIC K YOU R FAVOR ITE D ESIGN CHAI R AN D S HO W I T U P T O E V E RY ON E . Y OU W ILL IMPR ESS TH EM! HO W THE R E ’S NO N E E D F OR S C RE W S OR F IX T U R ES. YOU W ON ’ T EVEN N EED A N Y OTH ER TOOLS BES I DE S A S I MP L E /IN D U S T RIA L S AW. IT S A SSEMB LY B EC OMES VERY SIMPLE D U E TO TH E VERY CA R E FULLY P L AC E D A N D D E S IGN E D F ITTIN GS TH AT A LLOW FOR TH E PA RTS TO LOC K TOG ETHER, LI K E A WO O D P U Z Z L E . 5 E A S Y S TE P S : ON E S H E E T OF OS B C H IPB OA R D , C U T A STR IP OF 35 C M W ID E. C U T IT A GAI N I N 3 P I E CE S ( 35/ 3 5 , 4 0 /3 5 A N D 9 0 /3 5 C M), D R AW A N D C U T TH E FITTIN GS A N D YOU A R E R EA DY FO R ASS E M B LY. AN D I F Y O U FEE L T H E N E E D F OR S OM E MOR E C OLOR IN YOU R LIFE, JU ST PA IN T IT A S B R IG HT/ DA R K A S Y O U WAN T. THI S CHA I R A L L OW S F OR TA KIN G APA RT A N D R EB U ILD IN G AT A N Y TIME. TA K E IT W H ER EVER YO U WA NT.

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/PAREDES

DESIGN

MOBILIÁRIO


C U R A T O R ’ S L A B + H O M E O F F I C E /FURNITURE /2011-2012

S T O O L

DESIGN

C U R AT O R ’ S L A B S T O O L F O R ‘ C O N S T R U I R J U N T O ’ W O R K S H O P B Y E X Y Z T /STOOL + KITCHEN BENCH /GUIMARÃES, PORTUGAL /FEBRUARY 2012

HOME OFFICE / O VA R , P O R T U G A L / N O V E M B E R 2 0 1 1

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Recommendation letter I’m honored to inform you that the applicant Diana da Silva Sousa was my student in the subject “Projecto 4” during the academic year of 2008/2009 in “Faculdade de Arquitectura da Universidade do Porto” (FAUP), Portugal. Besides her human skills, she proved to be remarkably efficient, adding a great amount of accuracy, sensitivity, effort and persistence in her developed work. Therefore, I’m strongly legitimated to affirm that she fulfills all the required skills to be successful at any work she challenges herself to accomplish. Accordingly, without hesitation, I recommend her acceptance. Porto, 30th of March 2012

Nuno Brandão Costa (Architect, assistant teacher in “Faculdade de Arquitectura da Universidade do Porto (FAUP)” Portugal, invited teacher in “Escuela Superior Técnica de Arquitectura da Universidade de Navarra” - Spain)


Beatrice Galilee TRIENAL DE ARQUITECTURA DE LISBOA Campo de Santa Clara, 142-145 1100-474 Lisboa

May 1st 2012

To Whom It May Concern:

I have had the pleasure of working with Diana Sousa on two occassions. First when she was a student at Porto University and head of the Dédalo magazine. As part of their work, Diana and her team did an expert, dedicated and meticulous job. She invited some of the most engaging and interesting architects of my generation to speak about their work and in doing so ideas, strategies and attitudes that had been forming disparetely came together in Porto and cemented. The discourse was fascinating and I was extremely impressed by the vast organisational achievement of the conference, funded and sponsored entirely by the students.

Following this first encounter, I invited Diana Sousa and her partner in Dédalo, Nuno Pimenta, to work together to curate the Porto satellite exhibition of the Lisbon Architecture Triennale. I did so because I believed that Diana’s commitment and positive energy together with her sharp attitude, discerning taste and youth would bring a great deal to the project of Triennale. Reaching out to a younger audience, connecting with students and promoting young talent is at the top of my agenda for the Triennale. While on this occasion the Porto satellite did not continue, I would absolutely recommend Diana as an employee and wish her the very best in what will surely be a wonderful career. Yours truly,

Beatrice Galilee Chief Curator 2013 Lisbon Architecture Triennale


DIANA SOUSA DIANASOUSA.MAIL@GMAIL.COM CARGOCOLLECTIVE.COM/DIANASOUSA


portfolio diana sousa