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julia galves portfolio of work


personal information

name: Julia Benitez Galves date of birth: 09.07.1991 nationality: Brazilian / Portuguese address: Rua Tucumã n.621 apt. 91, São Paulo, Brazil mobile: +55 11 983 899 606 email: juliabgalves@gmail.com

summary

astaná housing 100 houses the lightness of death gregorio house maestro house


astaná housing 2014

ETSAM - UPM advisor: Prof. Javier Neila team: Julia Galves Maria Pia Laloni During my exchange program at ETSAM - Escuela Técnica Superior de Arquitectura de Madrid, I took a class called Bioclimatic Architecture in a Sustainable Environment. In this class, the final project was a student competition by ISOVER Multi Comfort. We designed a residential complex of 320 private apartments and

have greenhouses-balconies to better capture the radiation therefore heating the rooms naturally. During the summer, these balconies can be fully opened, and a cross ventilation would help to cool down the apartment. As for the outside common areas of the condominium, two living spaces were designed: a semi-buried square and

common living spaces. Most importantly, we needed to consider the extreme climate of Astaná, where the summer reaches highs of 25 ° C, and winters can be as cold as -40 ° C and think of passive thermal strategies for the building. We started the project by modulating the apartments and defining a total of 10 blocks of 8 floors. Using the Google Sketch Up shadow tool, we determined the location of buildings by considering the worst possible insolation day of the year, the winter solstice. The southeast façades contain the most important rooms of the apartment (living room and bedrooms) and

a “greenhouse” square. The first one is 1.5 meters below ground level and its surroundings are 3 meters below ground level. In this underground area, we placed the common playgrounds, fitness areas, and bike racks. Designing the square above ground level helped to promote climate resilience. The greenhouse was designed for the colder days, also 1.5m below ground level. In addition, a glass curtain roof would provide heating through a greenhouse effect, but also would be strong enough to allow the users to walk on it, like an alternative playground on summer days. PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

diagrams used during the design process

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

CLIMOGRAMA DE BIENESTAR HIGROTÉRMICO DE GIVONI 1. ZONA DE CONFORT 2. ZONA DE CONFORT EXTENDIDO 3. MASA TÉRMICA 4. ENFRIAMIENTO EVAPORATIVO 5. VENTILACIÓN NATURAL PERMANENTE 6. VENTILACIÓN NATURAL NOCTURNA 7. GANANCIAS INTERNAS 8. SISTEMAS SOLARES PASIVOS 9. SISTEMAS SOLARES ACTIIVOS 10. HUMIDIFICACIÓN


PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

shadows in winter solstice

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greenhouse-balcony

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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100 houses 2016

University of São Paulo undergraduate final thesis advisor: prof.Álvaro Puntoni This final thesis project is a study about the conception and comprehension of the contemporary house throughout a theoretical research and a design exercise, in a way to understand the current society need and its influence in the house spatiality. The house, our first shelter, is also our first contact with architecture. Its spatiality is at the same time the

physical value of a building to become a home, a place with emotional and family connections. The 100 houses exercises was the application of these theoretical concepts in an imaginary terrain – 5 meters x 25 meters - which is the smallest terrain allowed in São Paulo. This was a challenging exercise but also allowed me to express my design freely. Ultimately, the last exercise -

physical extension of its inhabitant, the place where he hold his private relationships and also the material mediator of what is public and what is private space. Therefore, studying the home is also understanding a more intimate part of the individual in our society. This work was divided in three parts. The first one, the house, includes a theoretical research, the definition of concepts and design references. The second, 100 houses, is the design exercise taking into account the previous research. Finally, the third, a singular house again, deals with the design of a home on an existing site in São Paulo. It is necessary to understand how a house differs from any other building that could provide shelter, making the construction a true home. The concepts, which are developed and explained by the architect and professor Witold Rybczynski in his book “home: a short history of an idea”, are: privacy and intimacy, domesticity, convenience and comfort. The book was written in 1986, so there are some contemporary issues that have to be considered nowadays: flexibility (the ability to change the house according to the inhabitants needs) and the emergence of the activity of work in the domestic space. What truly makes the house a home? The house, as a space of intimacy and privacy, promotes a relationship of emotional proximity between the architecture and inhabitant. Therefore, the residential space transcends the

one house in a real site - made me realize the impossibility of this project. I did not have a real client, so the house could never be a home, nor could it ever express a true personality. A house is a reflection of the lifestyle of its residents and the architect needs to be sensitive to the daily issues of their clients to then develop the most personalized design possible. In addition to this, the professional also needs to be attentive to the future needs of the residents, after all, this same house can shelter the family for many decades. At last, a final question concerned me about the way an architecture is represented. Technical drawings of architecture are intended for professionals, so it is not often understood by lay people. For this reason, the 3D digital model and renderings ends up being a solution to demonstrate to the client the expected result. However, very realistic representations end up generating false expectations. The object of desire becomes that unreal representation, which can cause frustrations. In this work, the solution was the representation from collages. This method has less commitment to reality than a rendering because it creates a composition of what the future architecture can be, using materials, characters and elements. A story is created so the reader can understand and imagine, but keeping in mind that the real construction will be different from the dream.


100 houses perspective models


final house collages


the lightness of death 2016

arch out loud competition team: Beatriz Brandt Luiza Noia Julia Galves

Nowadays, death is often neglected: people avoid to think about it. In this context, cemeteries are forgotten places visited at most a few times of the year. To build a vertical cemetery in the most pop-culture neighborhood of Tokyo is a challenge that would likely cause controversy. Shinjuku is a vibrant, colorful district. This project distinguishes itself of its loud context through bold contrast: a light and calm facade amid the overwhelming surroundings. The building maintains the existing pedestrian flow through a free access ground floor, a covered square where the traditional Obon festival could take place. The passer-by are amazed by the columbarium: a cone opening sparkled by the ciclurn - a system of spherical urns that emanates light. By looking up, the citizens find an unexpected starry sky, where each point of light represents a departed one. Light is part of remembrance and has represented spirituality, unity, purity, and love throughout the ages. Therefore, the square becomes a daily reminder of death’s existence - memento mori- and a significant part of the city, itself a collective reflection space.

existant pedestrian flow

building volume and alignments

On the upper levels, the floor is divided between light and dark areas - circulation and columbarium, respectively. The cone is surrounded by walls to keep it dark, creating an atmosphere of a starry night. Outside the walls, the light crosses the transparent facade, brightening up the reflection spaces and the circulation volumes. The visitor can take a relatives’ urn to any of the rooms among the floors. Those reflection spaces were thought to comfort the grieving. Each person deals with death in a different way, passing through shock, anger, bargaining, depression and acceptance. These rooms have different sizes and provoke many sensations that deal specifically with the feelings the person is going through. People can reunite with family and friends in the bigger rooms, watch videos and photos of beloved ones, or mourn in the small spaces and deal with the pain of loss by themselves. The reflection spaces also have a spot in the center of room for the ciclurn, maintaining the light of the departed to comfort the mourner.

central cone: subtraction in slabs and visuals the building volume

structure


corpse

frosted glass ashes led lights

ashes ciclurn

view from the street interlocking connection metal support columbarium

reflection spaces

view from the central cone

columbarium

reflective spaces


gregorio house 2017 AR arquitetos team: Marina Acayaba Juan Pablo Rosenberg Julia Galves

This is a renovation of a house located in Alto de Pinheiros neighborhood of SĂŁo Paulo. The clients are a musician couple and their nine-year-old daughter. They wished to have a comfortable house to receive friends and family and also a studio to work at home from. The goal, then, was to separate the more intimate space of the house from the work environment. The renovation consisted of the least intervention possible of the ground floor, with just the demolition of a few walls to make the living room more expansive. The upper level was enlarged with the addition of a second room

for the daughter. All the flooring and roofing was updated. As a way to mold with the existing house, the brick wall was maintained and painted white, to contrast the existing concrete beam. On the back of the plot, an existing pool house was renovated to create the studio - which needed to be soundproof. The studio is accessed by a side entrance, separating the intimate space of the house from the work area. The project was finished on march 2018.


ground floor

3.88

upper floor

photos taken during the construction


maestro house 2017

AR Arquitetos team: Marina Acayaba Juan Pablo Rosenberg Julia Galves

This is a new construction located in the Jardins neighborhood of São Paulo. The client is a 30-year-old single man who wished to build his dream house to shelter his future family. Therefore, the challenge in this project was to fulfill the needs of different moments in the client’s life: a single man in the present, and a family in the future. Since the client likes to cook and entertain guests, we designed a ground floor where the kitchen is open to the living room, allowing the interaction between the cook and the guests.

On the upper floor, we designed alternative layouts: the first one, for the present moment of the client’s life, with two bedrooms and a large living room / home office. We have anticipated that a hydraulic system be set in place for the future creation of a third bathroom on the upper floor, allowing the house to have three en-suite rooms. To provide privacy, movable panels where designed all over the balcony. This project is under construction.


ground floor

upper floor - two bedrooms option

upper floor - three bedrooms option

Julia Galves - portfolio of work  

Architectural Portfolio. Selected works made in FAU USP, ETSAMadrid and AR arquitetos

Julia Galves - portfolio of work  

Architectural Portfolio. Selected works made in FAU USP, ETSAMadrid and AR arquitetos

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