José Gonçalves Selected Architecture Works

"Idle hands are the devil's workshop".

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MARECHAL CARMONA

VILA MODER

Residential, Cascais, Portugal

Residential, Gomes Freire,

2019 - Present

2017 - 2018

Pag. 6 - 21

Pag. 22 - 37

WA R S AWC A L L

VERTICAL URBAN FA C T O R Y

Cultural Warsaw, Poland

Cultural, Beato, Portugal

2020

2019-2020

Pag. 38 - 49

Pag. 64 - 77

M A R E C H A L C A R M O N A 2019 - Present

Cascais, Portugal Residential Down the river in search of the sea, it is a 30-minute train ride that separates Lisbon and Cascais. Through windows, the various frames of the great river and its Atlantic mouth, the passing of time and collective memory, stories about stories marks the approach to the Marechal Carmona neighborhood, opened in 1946 as a response to the housing shortages of the time.

The project challenged us to rehabilitate this dying, albeit characteristic neighborhood in the heart of Cascais by adding to it 500 more dwellings while simultaneously attempting to preserve its character.

The project was comprised of an urban plan as well as several, more detailed interventions including various housing projects, a kindergarten, a school and a multifunctional building.

Here I will be focusing on the residential project.

PRE-EXISTING DWELLINGS

INCREASED DENSITY

All of the pre-existing dwellings provided a private front yard that created a particular sense of community

How could one triple the existing density while maintaining this sense of community?

V E R T I C A L S TA C K ING

DIVERSIFY

By stacking both vertically and diagonally one can simultaneously preserve the pre-existing way of living and accommodate new dwellers altogether.

Each block was then pushed in different directions, creating varying typologies throughout the whole area

ground floor plan

first floor plan

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As part of a shift in paradigms and counterpoints and for the prototype of a good city, the urban requalification of the neighborhood is proposed, with a view to promoting a dynamic, multifunctional and multigenerational city, preserving the sense of community and the values inherent to this heritage, alive.

The neighborhood, characterized by outdated and narrow housing typologies, where the aging of the population and a high level of inactivity is felt, seeks, based on its privileged location in relation to the center of Cascais town and surrounding accesses, to regenerate its image , consolidating it with its current inhabitants, and attracting new activity.

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longitudinal section

cross section

third floor plan

fourth floor plan

ALÇADO POENTE

east elevation

ALÇ

General Axonometric View

Cultural Axis

Public Spaces

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Urban Plan

Projects Developed in the Urban Plan

V I L A MODER Studio project 3rd year 2nd semester Gomes freire, Lisbon Housing

The increasing population density in Lisbon due to it’s rise in popularity in touristy routes has, undoubtedly been one of the most impactful phenomena in the city’s context. Once, as an high density and generally low-rise city, Lisbon was defined by its narrow streets, varied façades and confusing walkways. While at the current moment, thanks to the widening of the streets and the increasing height of buildings, is slowly becoming a generic 21st century city filled with boring blocks of vertically stacked office buildings with a touristy centred architecture, meaning it looks like it but it isn’t actually it. Once as a community centred low rise high density, now, soon-to-be profit-driven high rise, high density.

This led to one of the key features of the city, its enormous sense of community, to slowly fade away, thanks to the decrease in restrictiveness which, ironically is what gave it identity in the first place.

So the question arises if this sense can actually be brought back without the increasing publicity of the city affect it?

SMALL SCALE COMMUNITIES

L I F T E D FO R P U B L I C S PAC E

By taking small scale communities, creating common patios for each one and lifting the whole structure from the ground for public space, you end up establishing restrictive common space for the housing in the upper area and mitigating, in a way, the public beneath.

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WARSAW C A L L International Competition Warsaw, Poland 3rd Place - ArchiContest The city of Warsaw, due to its constant rebuilding throughout the XX century, was dubbed the Phoenix city, as it has risen from the ash various times. This continuous rise and fall, established a formidable historical city that valued its heritage by its replication throughout its rebuilding phases.

This meant that part of that value lied in its public spaces, and that Warsaw’s squares and parks would be more than public spaces, they would be cultural heritage.

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The brief required us to intervene in one of these spaces – In particular the New Town Market Place in the Warsaw center.

The New Town Market Place, being the main square of the Warsaw New Town, was rebuilt multiple times in various degrees and shapes – from a 140 by 120-meter square to a skewed 90-meter-long Market Place with a curved townhouse block occupying the original square area. Today, the square itself is punctuated by several sculptures and flowerbeds that bridge small gaps in height and a fountain atop of a small staircase on the lower corner of the area. The surrounding context of yellow and red grouted brick townhouses, and accentuated small ground floor amenities lighten, the otherwise grey square. On the far end of the curved townhouse block, is an orthodox church forming a misaligned axis towards the square entrance. This square is crucial not only as a main public space in the New Town, but to Warsaw in general.

We were tasked to create a 500-seat concert hall in this space, a typology that concurrently has a predominately private and sparring use.

Since the square was of utmost importance, it was imperative to intervene in such a way that would preserve the square’s hereditary value, and not create an obstacle to the square itself.

But how can one conceive of a predominately private building typology on a valued public heritage square?

We chose to invert the traditional concert hall typology and merge it with the square itself, essentially democratizing it by creating a public square concert hall hybrid.

We started by raising a traditional townhouse volume on the south side of the square and then sectioning it with two important axis: a mirrored curve from the townhouse block (framing the church as a main element in the square), and the area of staircase leading to the fountain. These sectioned surfaces are then framed with glass, conceiving the main facades of the building and creating the main entrance as a continuation of the fountain staircase. Then, the resulting west volume end is lowered to ground level, creating a public green roof as a prolongation of the square itself.

The building itself is organized in order to concentrate the more public functions on ground level, and distribute the more private ones beneath. All the public programs (musical shops, coffee shop and concert hall) were conceived as concrete cubes, each containing curtain-like curved openings as entrances which are accentuated via the curved glass façade which slightly distorts each one, creating a stagelike expression towards the exterior. Beneath, the workshops and music studios are punctuated by green patios which grow upward relating themselves with the square and providing natural l.

The building, as a whole, is clad in varying types of concrete (polished floors and bush hammered walls), assuming its austere expression. It’s curved glass, interrupts this austereness by creating curtain-like surfaces, giving it a theater-like character.

The south façade is then molded to form various traditional Warsaw symbols as concrete “frescos”, such as the Syrenka and Kotwica, interpreted as theater characters, as seen in various paintings in the surrounding context.

Finally, the auditorium is then clad in wood and glass, respecting the circular pattern from the exterior and unfolding it throughout the space, creating a weaving, tubular structure, that blends and diffuses walls, roof and floor as one.

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W A L L HOUSE Studio project 3rd year 1st semester Avenidas Novas, Lisbon Housing

"Avenidas novas" was the designation used to describe the urban development in the 19th century which made Lisbon spread itself to its northern counterpart.

Due to this phenomenon, new neighbourhoods start to appear, with middle and upper middle class occupants in mind and in great numbers. These new neighbourhoods with wide streets and homogeneous façades, consolidated and perfected an old building typology: The courtyard.

Using a perfect example of this typology as a building site, the program, consisted in the 1st place to design a 28sqm house for four people, with temporary housing in mind. And then to aggregate this "prototype" on the above referred site".

EXTRUDED MASSES The housing part of the program is extruded along the perimeter in order to embrace the courtyard typology

CUTS Using the natural topography, 3 simple cuts are made...

PAT H ...Creating a main path which would house all of the retail, minimizing contact with the upper, more private area.

BACK AND FORTH This path is then connected with the main street and each store is pushed back and forth in order to maximize contact with it

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THE STORAGE AREA The program also required a storage space as well as an atrium but with the restricting building height, the ground floor would have to house both.

Instead of generally, focusing on the atrium and hypothetically putting the storage space "beneath the rug", the question arose if the two programs could be merged and in that way, create something much more interesting.

In short, could the storage space actually be an atrium?

To do that each of the storage spaces for each apartment was then conceived as 3x3 cubes, placed all across the atrium, creating not only an imposing feeling at the moment of entrance but also a relation between the outside visitors and the actual dwellers.

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V E R T I CAL UR B A N FAC T O R Y Master Thesis Culture

Beato, Portugal

Honorable Mention - StandoutArchi Contest

third floor plan

fourth floor plan

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THANK YOU