JOANA LACERDA PORTFOLIO + CV A
Joana Lacerda Coelho email@example.com oh-joana.blogspot.pt Portugal: +351 919 825 457 06.09.1988 Portuguese nationality
OBJECTIVE: Erasmus / Leonardo Da Vinci Program | Architectural internship
Born restless and desiring for autonomous learning and unlearning. Architecture believer, art worshiper. Curious adventurer, convicted communicator. Enthusiastic creator of thoughts, ideas and projects. Obstinated devotee of unpredictable beauty and humour, and a fearless lover of architecture in general. Avid and interested to understand and work in architecture for life.
2013 "Warehouse of Urban Culture. Reconversion at industrial Lisbon east: The case of Abel Pereira da Fonseca Wine Stores" coordinated by Architect Pedro Oliveira 2006 . 2013 Faculty of Architecture | University of Integrated Master of Architecture
2010 . 2011 Faculty of Architecture | Politechnical University of SOCRATES / ERASMUS Exchanging Programme 2005 High School "Francesco D'ovidio" | COMENIUS Exchanging Programme 2003 . 2006
Polithecnic University of Seville |
Places in the Bay of International Workshop
les espaces vides Polithecnic University of | International Competition by Art Urbain (Seminaire Robert Azuelle), France
"Ciudad Posible Arquitectura Blanca", Polithecnic University of | Workshop and competition by CEMEX Blanca in the context of the
2011 . 2012
Seminar - New Doctoral Programme
2011 . 2012
| in the context of
Measure and unmeasure in
2011 2013 ERASMUS INTENSIVE Programme "Fortified Places in the bay of Cadiz" scholarship | University of Seville
2010 . 2011 SOCRATES / ERASMUS Exchanging Programme scholarship 2004 SOCRATES / COMENIUS Exchanging Programme scholarship
International Seminar 03 . 05 March
Polithecnic University of
| 04 November
2009 Architecture Department 2012 . 2013 University of Monitoring Teacher
Project V and VI
July . August 2009 Atelier "Matos Gameiro Arquitectos", Lisbon, Portugal volunteer
International Seminar "Time in Architecture", University of de Subjects: and and Path
Lecture I+one =3 Between yesterday and tomorrow, the improvement of heritage buildings and sites by contemporary architecture in | by Architect Hugues Wilquin, 04 June
Lecture and Eduardo Carvalho, 28 May
Autocad, Photoshop . SketchUp . Microsoft Office Hand drawing and modeling . Laser cutting May . 2012 "Arts School day", University of
| by Architect J. L. Carrilho
| 11 May
Portuguese | Native Language
| Project selection to represent
Arquitectura Blanca", Polithecnic University of June . 2011 "Ciudad Posible | Sponsored by CEMEX Blanca in the context of the
May . 2011 "Recorrido de Luz", Polithecnic University of | Instalation, in the context of the subject Materialization del Proyecto ESTAV-UPV
in al-andaluz - construction techniques, spaces and by historian Santiago Macias, 11 June
| by Architect
to the city: urban landscapes self-constructed in Lisbon, | by Architect Tiago Castela, 14 May
E U EQUIPMENT
U R B A N
2007 | 2008
2010 | 2011 P30
] 09 . POSSIBLE CITY ] P36 P06
10 . SPACE OF NO ONE . EVERYONES GARDEN [Robert Azuelle competition] ]
] 2008 | 2009 P12
2011 | 2012 P48
05 . SCULPTOR HOUSE , ESTREMOZ P52
13 . LISBON CONTEMPORARY CENTER , LISBON
2009 | 2010 2011 | 2012
"WAREHOUSE OF URBAN CULTURE. Reconversion at industrial Lisbon east: The case of Abel Pereira da Fonseca Wine Stores " coordinated by Architect Pedro Oliveira
07 . HOTEL , ESPICHEL CAPE
2007 . 2008
Descri o A partir da proposta de conjunto dos volumes entregue na primeira fase, devem agora ser desenvolvidos os
PROFESSOR ARCH. PEDRO OLIVEIRA
interiores. O ponto de partida
os 4 volumes anteriormente definidos - 1 volume de
14Mx7Mx7M + 3 volumes 14Mx7Mx3.5M - que devem ser imaginados como processo de
o resultado das
Some buildings, not only solve their program rigorously, in a perfect harmony between design, form, materials and function, but also link themselves to the site as if they were live animals, giving the impression that their existence in this place is timeless. Their perfect relationship with the site and the program is so
como Programa e a
e hierarquia entre as diferentes
indisputable that it's impossible to imagine that building somewhere else different. Their belonging to the place is so natural that almost reach to the
A leitura do Lugar como elemento base do acto de projectar - o que vejo, o que dou a ver.
anonymity of any work of Nature.
Explorar as qualidades sensoriais e construtivas da Mat It was intended to draw in this excercise, starting from parallelepipeds with predefined dimensions, a museum in the access garden to the University of building.
These volumes should accommodate pieces with symbolic value for the city as the four statues "Atalantes" from the existing facade of metal grating (05) and painting of the holy family (04) from
church (01), the Cathedral, as
CLASSIFICATION Museum collection.
Spaces Atmosphere . MDF Model photos
Main project intention . Scheme
Location collage and the different pieces to expose . MDF Model photos
university buildings connection
2008 . 2009
Therefore it is proposed to students, initially raising the cartographic data of
PROFESSOR ARCH. PEDRO MATOS GAMEIRO
(support elements to work to
develop). These data should include plants, cartography, and other orthophotomaps get the appropriate bodies CCRA, etc ...). Should still be considered to indicate bibliography. Note that, in recent years, many works have been developed in the discipline of Project that were based on the city of
course, students should investigate who is it may assign to them or facilitate access to these elements. On this
The University of
therefore, within the
fortemenete influence in city life. Evora, a
significant part of the scientific, intellectual, social and economic
basis, two studies should be carried out: firstly, a reasonable study of the city, its history and organization, then the location and characterization of each of the buildings belonging to the University.
activities are generated from the existence of this institution that still provokes intense renewal and population turnover, creating diversity
Obtained these, it is intended, in a second phase, the treatment of these elements in order to create a database and
a database of drawings and writings that serve to further analysis and on which they can act on the proposals. These
The important institutional representation and the associated
elements included a base model be developed as a set during lessons.
prestige put the University of
in a level of excellence that the
city can not do without. The reverse is also recognized: the city and its history give the support that justifies the existence of the University. In summary, both have their meaning attached and of mutual benefit extraordinarily features and characteristics.
The third phase concerns the development of proposals. This stage should be considered 3 times: a) a first moment of defining the overall approach; b) a second step of establishing the strategy and consolidation proposal c) a third time it develops one of the proposed elements (choose) to scale 1:50.
In Evora, and among other things, the university distinguishes itself be fragmented by the city. Proposed to unify the local university teaching. Create a wire that led to all, and the relationship between them became more strict and visible to the eyes of all who inhabit the city. As a blue line marked on the floor, right in the middle of each street where the public transport system circulates it were.
Failing to establish a physical relation noticeable among many buildings as diverse and far between, we propose a unified non-physical, but visual. A visual interface. A place where you can identify and understand each and every one of these parts, that the city build the university.
The city within the walls, is directed by urban structure that draws to the central square. Center of city life, leisure space, culture. Place to converge the most important streets of the city. realizing the urban fabric quickly becomes clear that the central point from where you will create these visual relationships, is the square Giraldo. Here draws a welcome center near the quota of the square, receiving students and visitors. Throughout the levels that develop around a central courtyard, are small niches reading, which is intended to establish frank relationship with the historic bookstore (in the building next door). At the top, a leisure area with
with a terrace
inhabited, and with panoramic views of all the buildings that make up the university.
. Relation between the welcome center tower and the university buildings
University Tower Welcoming Center
Bank of Portugal
Location collage and the different pieces to expose . MDF Model photos
North elevation, Giraldo Square . Collage
Location collage and the different welcome center spaces . MDF Model photos
re-think a cartuxa cell
2009 . 2010
1. 5 cells for monks ( each with 120 m2 of floor area ) in the northeast wing of the claustrum maius the Carthusian
PROFESSOR ARCH. MARTA SEQUEIRA
. each housing should contain : vestibule, lounge / pray / eat , oratorio / study room , bedroom ,
bathroom , workshop , storage room and garden , according with the areas and distribution advocated by the order, and on the northeast side of maius claustrum . RESUME
2 . Prison ( 135m2 ) , with small chapel and library, on the northeast side of maius claustrum .
This exercise aims to reflect on the concept of living through the
3 . Files ( 120 m2 ) , with links to the old cell prior ( which will be the current ) .
intervention of a paradigmatic model of housing collective: The
4 . Search ( 120 m2 ) , with binding maius clautrum and minus southeast claustrum and entered the courtyard of the
Aims to establish a congruent relation
heritage, defining a strategy project-coherent, effective manipulation of architectural subjects, the ability to interpret the proposed program,
representation, the quality of the oral presentation and the ability to theoretical reasoning.
5 . Colloquium ( 150 m2 ) , near the library and the claustrum minus the southeast, for weekly fellowship of monks , and should reflect the possibility of being outdoors , the climate of the Alentejo provides. 6 . Locksmiths ( 100m2 ) , with the woodwork, and the courtyard of the crop . 7 . Warehouse ( 150 m2 ) , to save material joinery and carpentry , and those near the courtyard of the crop . 8 . Vegetable garden ( 900 m2 ) and spaces for warehouse work utensils and crops on land ( 200 m2 ) , near the courtyard of the crop .
8 . Other spaces that during the analysis , appear as relevant and included in the intervention.
The Carthusian monastery of Santa Maria Scala Coeli , on the outskirts of the city of
, designed by Giovanni Vincenzo Casale
was built between 1593 and 1604 . Comes to us , however , cells with 5 - hermit of use - and several spaces - coenobitical of use build by . It is intended, through the reinterpretation of the Carthusian model - that both should respond to morphological identity that characterizes these monasteries , and reflect a contemporary and according to the new construction techniques attitude - complete architectural set collective housing in which the Charterhouse of
Dinning hall | Fire space
Main cloister corridor
Location collage and the different atmospheres . Styrofoam Model photo
Monk Cell . Axonometric perspective
Espichel cape, Sesimbra
cape espichel hotel
PROJECT VI HOTEL , ESPICHEL CAPE 2009 . 2010
The specific and concrete definition of the functional program of the hotel ( eco - tourism) unit should be reflective of individual student research and its approach and design , consistent and coordinated with the place being studied
PROFESSOR ARCH. SOFIA SALEMA
strategy. However , the following specifications must be met: the hotel unit should be designed on the concept of eco -tourism small ( 12 housing units ), should be explored the theme temporarily dwell with specific features for RESUME
leisure and wellbeing , the hospitality program should enhance the relationship with the pre - existing structures and
This set is a rare example of religious site planned from scratch,
natural heritage ; few spaces (public or concerning housing units ) shall operate within structures built the sanctuary
remarkably plastic and scenographic design, clearly distinguishing
. It should not be overlooked that the inns or parts of them can be used by pilgrims .
feature of the constructive influence saloia region. The entire
assembly is rationalized its function pilgrimage shrine, created for
1. Environmental and / or interpretation of the place center ( includes interpretive area | expository , shop , toilets ),
the needs of pilgrims (inns, home of the candles, aqueduct and
2. Restaurant and lounge bar /
fresh house): the difference in length of the two wings that define
cold areas , etc. . ) 3. Reception and reception ( lobby ) ( includes office space and back-office ) 4. Area outside
the church together with the rectangle of the camp gives an
welfare ( free concept )
overview of the arrivals hall to the sanctuary by road from Sesimbra,
the rhythmic division of the arcades with the church in the
1. Living space , 2. Sleeping space for 3. Bathing and 4. Outer space ; 5 . Space for cooking
background linked together but detached,
view, as well as the symbolic crankcase, directing the gaze of the pilgrim who arrives the sanctuary.
(includes sanitary and technical kitchen area , pantry, storeroom , storerooms,
Should be included in other technical areas such as parking , linen , ironing , laundry , stationery, changing rooms
The ensemble called the Shrine of Our Lady of mua stone, deployed in the extreme spike cable, is arguably the most important and characteristic of this county there are precious cluster of buildings from ancient shrine of memory, the seventeenth-century church, since the 'rustic' of the inns, the aqueduct and the house of water, a graphics unit values that made him forget the disparity of styles. bodies Place of emotions, the spike cable tests the courage and the fears of those who visit. The temptation of the proximity of the sea and the empty die when fear arises. It is this fear that draws the boundary between land and sea. It is intended that the building draw a boundary wall. This wall will also designing collected moments pause, with banks now show the view of the sea, now suggest the view of the sanctuary. Aerial view . Espichel Cape, Sesimbra
Military outlook post
Old pilgrims houses
PROJECT 0 GARBAGE MODELS 2009 . 2010
Practical work , individual, performed within the project disciplines but at the level of several years . The exercise PROFESSOR ARCH. PEDRO DOMINGOS + HELENA BOTELHO
aims to familiarize students with the highest number of spatial specificity , as well as several competing concepts for its characterization (size, scale , proportion, light, paths) , urging them to recurrence memory and calling for discovery capabilities of ( his own ) imagination. Seven moments will be covered : I _ Individual Search ( on the streets , on construction sites , in ferrovelhos , etc. . ) Pieces of " clean" trash, transportable to class ( not exceeding 50x50x50 cm ) and with the possibility of " visualization " of a minimum of space interior, on which the student can understand a speech figuration of an architectural space. II _ Early attempts at extended to all the elements that compose the various groups each year, from a reading of architecture ( interior / exterior ) " represented " by the chosen piece conversation. Approach III _ Part garbage model imagined by juxtaposition or subtraction of a second piece of another " family " ( origin, function , age , material and / or color ) if necessary ; opportunity for reflection on the materials represented. IV _ A " reinterpretation " of the object ( Duchamp ) [ The " garbage " in the art gallery or museum; context / / descontexto ; brief description / analysis Dadaist artistic attitudes or pop in a similar burden, the specificity of architecture : the need the useful ] . VI _ Construction (in photoshop ) photomontages of the most impressive interiors contained in each piece , credibilizadas by affixing human figures , machinery, automobiles , one or another piece of furniture , animals , etc. .
Location collage . Garbage Model . Iron Piece photos
Location collage and the different atmospheres . Garbage Model . Iron Piece photos
space of no one. everyone's garden
ARTURBAIN COMPETITION (FRANCE) URBAN VOIDS 2010 . 2011
PROFESSOR ARCH. MANUEL LILLO
Each country has to deal with the difficulty of creating a framework of life that respects the dignity of human beings. The era of globalisation has seen the disproportionate, disorganised and unrestricted growth of urban sprawl. The fragmentation of territories constitutes an obstacle to the continuity of a soft traffic under pleasant conditions.
[Polithecnic University of Valencia . SPAIN]
Whether in large urban cities or in small towns, numerous empty spaces have been forgotten. They may be termed residual, interstitial, abandoned, intermediate, industrial wasteland or waste ground... there is no lack of synonyms and other expressions for them. They often abut defined public spaces, such as streets, places, squares, boulevards, esplanades, pedestrian malls, etc3. Based on all these existing spaces, the operations that are candidates for the National Prize arturbain.fr and the projects submitted to the International Competition arturbain.fr shall highlight the improvements they make to the framework of life. These concern: - The link of these spaces with the urban fabric to create continuity between them and facilitate their accessibility to pedestrians and soft traffic. - The programmes for these operations and projects are attentive to citizens' expectations while coordinating with the municipalities. Under these conditions, the quality of the framework of life will be assessed as a priority with regard to the following criteria and references: Architectural quality: Insertion into the surroundings and taking the landscape into account. Identity of the place and
its heritage Quality of social life: User-friendliness and accessibility Respect for the environment: Respecting biodiversity (green
and blue belt systems), waste management, management of nuisance, pollution and congestion due to cars.
Location collage and the different pieces to expose . MDF Model photos
1 | INDIVIDUAL MODULE: storage space, built of simple form
1+1 | STORE: If widens the "heritage" and exploit the economic
1+1/2 | WATER STORAGE: In the module can be pre-fabricated,
and with degradable material (wood), easy to build by own user or
social relations el. Opens the space to the public in general, with
proposes that if e, two pound blocks, being inferior to the purpose
can be pre fabricated.
the creation of a space where the shop can be
of storage, and the upper for water storage (can be half the original
own grown vegetables.
alvy singer's house
2010 . 2011
An insecure, self-reflexive Jewish comedian obsessed with death, Alvy is a clear stand-in for filmmaker Woody Allen. He is introduced in stark close-up, giving a humorous confessional in a tweed getup that mimics style of dress and performance.
occupation, location, and personal idiosyncrasies resemble those of Allen,
making it hard to distinguish the filmmaker/actor from his protagonist. As a fifteen-year veteran of psychoanalysis, Alvy frequently looks to past events to explain his present actions. He became a nihilist at the age of nine after reading that the universe is expanding and suffered criticism as a child for acting on early sexual impulses and CLASSIFICATION
kissing a female classmate. These flashbacks set up Alvy as a pessimist who has little luck with sex or relationships.
He also almost immediately refers to what he considers the primary joke of his adult life: belong to any club that would have someone like me for a
All of these
would never want to pessimism,
self-deprecating quick wit and intimacy with the viewer establish him as an endearing character, his
irksome qualities are evident, too. He is anal
polite word for what you
Annie says), neurotic, overbearing,
insecure, aggressive, domineering, pretentious, and unusually averse to unfamiliar situations and places. Often, his actions are counterintuitive: he rejects the
Manhattan community of which he is a part; he travels
across the country to L.A. to participate in a television awards show, and then chickens out; he encourages Annie to sing until she gets noticed; he is not attracted to women who are attracted to him. He is aware and indulgent of his angst, cracking jokes about it constantly. Because Alvy is driven by the notion that art can revise life, he allows fantasy to enter his narrative throughout the film.
Location collage and the interpretation of Alvy's particular area
It comes to the volumenes of hormigon that all occupants el solar . Son , so that respecta entripedos en su organizacion del espacio , tienen una plant tripartite centered en un patio descubierto . In one of the volumes of the spaces are all activities that Alvy Singer likes to do the other activities more intimate and special . The spaces have strong ambiences , with a direct relationship to the movies . In the space of the bath , allowed to be there with Alvy Singer Annie , in moments of intimacy , with also the space of love , since they imagine empty with only a bed , or a bath , where the light fills the rest of the space arrival of particular points . Also can stalk you if you want it, from above , your resting space . This imagines himself with a chaise longue where you can admire the sky at night . The volume of easier access spaces to share with others . At the center , the courtyard , the most important source of natural light in the house where lives a little space to reflect , as well as a terrace to watch the films with whom to invite , designed concrete on another volume .
2010 . 2011
Housing is the basic unit constituting the urban fabric, the configurator mechanism town. Within the city takes on a dual role : private and public , from the private point of view must meet the needs of its users and , from the public point of view , configure urban space , streets and squares . By grouping these basic cells urban space is acquiring the appropriate scale of the city , making it recognizable , sheltering themselves from the community, relationship , residence , recreation, circulation functions ... Throughout this year there has been talk of housing as a place to live
, as a refuge for one or more individuals, such as personal space, where each makes itself a reflection of human life
PB + 6 + attic (attic removed 5m
not mandatory); PROF:;:
HOUSING HEIGHTS homes 150sqm votes will arise. BUILDING: Maximum 20m; PARKING: You can handle the entire block under ground 2 parking spaces per dwelling; COMMON SPACES: Solving the central courtyard as a common space; FACHADAS: The perimeter of the exterior facade will be continuous. The perimeter of the interior
decide freely. Casts that are projected on the
facade keep the continuous image of the apple. On the ground floor is not mandatory continuity perimeter.
in its broadest sense primitive . Both when designing a home for a particular user in the study of housing types within a defined spectrum has arisen mainly from inside the house , " intramural " . Integrating the type of family housing has been treated from the point of view of a user 's personality , specifying as few requirements that are expressed through a person who defined the house where I wanted to live . The object of the exercise is to project a block of flats in one or more of the following ways: Apple spreading _ , _ Block of flats , housing _ Tower . To this , two sites where buildings raised features are placed is proposed. The exercise is to replace the buildings proposed by others that meet the conditions set . This will work on possible grouping and circulation most appropriate in each case , and housing based on the experience gained in the previous exercise was designed, keeping in mind that : GROUP + TYPE HOUSING BUILDING HOUSING COLLECTIVE .
Abel Pereira da Fonseca warehouse riverside view, Lisboa
cultural warehouse . abel pereira da fonseca
PROJECT ADVANCED III WAREHOUSE RECONVERSION , LISBON 2011 . 2012
PROFESSOR ARCH. PEDRO DOMINGOS + HELENA BOTELHO
The Abel Pereira da Fonseca building project has analyzed the architect Manuel Joaquim Norte
developed in the years 1916 and 17 , noting among other changes made in the construction phase compared to the approved design , the design of different sawmills and not integral coating stonework , open on the Square Leandro da Silva main facade . The versatility of the designer is evident in the design of the building , with noticeable adaptability of its architectural language and the various programs , although in his works always with a clear
preponderance of creativity and design of facades . It's amazing vividness and investment in a project- only utility and commercial , still more for quality that North Junior summarizes the time period and function with reference to wine casks of large circular , simple glass panes and also very ornate curls in their symbolic program and grapes. It is well balanced harmony of these large voids / tanks, not only with the curved spans of the ground floor , as with the other spans the top floor , mirroring and a modernity eclectic something very expensive this time period . The
facing the street Amorim , this
eclecticism can remember some " neo - Romanesque " raids in the design and expression of some spans. Giving for the project , in terms of creativity , the preponderance design of facades , often reflecting on the design of the covers , something very common in buildings of this time period as well as what it is sequential where interventions predominate " art deco " / modernist , inland areas of Abel Pereira da Fonseca , although today with something diverse and updated functions , develop in areas not particularly relevant . In the structure of reinforced concrete building , the new material from the 30s is " .
" generally all built new typologies already appears
wharehouse location . collage