Photo & Design Portfolio

Contents A CONTENTS - TIMELINE

Contents A PHOTOGRAPHY (2013-2018)

01 INDEPENDENT 52 Weeks Project FeatheredFamily 6A.M. Nostalgia (a)Romantic

B ARCHITECTURE (2017-)

01 ACADEMIC PROJECTS Saurimo Eco-Tchihunda

02 DESIGN + CONSTRUCTION Gold Pavilion Nature's Shelter

03 “Past, Present, Future-Decker” + PROFESSIONAL PROJECTS “Imaginations of Home”

C PHOTOGRAPHY (2022)

01 INDEPENDENT Poetic Photography: A Collaboration

20

30 26

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Table of Contents 04 08 12 16 14 16 17 40

A PHOTOGRAPHY (2013-2018) Conceptual Photography INDEPENDENT

Quedas de Kalandula

Nostalgia (2015) (a)Romantic (2016)

B

ARCHITECTURE (2017-) Design, Construction, Research, e Exhibition

ACADEMIC PROJECTS, DESIGN+BUILD, PROFESSIONAL PROJECTS

SAURIMO

ECO-TCHIHUNDA

Project Type: Academic

Location: Saurimo, Lunda-Sul, Angola

Year: 2018, Master's Thesis

Lunda-Sul is a province located in eastern Angola. The world's 5th largest diamond mine, Catoca, is found here. The capital of Lunda-Sul, Saurimo, is a 30 minute drive from Catoca and there are three locacl settlements that can be found along this route: Saipupu, Sambaia, and Luenda (a total of 1,350 inhabitants).

This final thesis project proposes a master plan design of a self-sustaining eco-village for existing and future residents, where they could live and work. With program elements such as housing, green areas, commercial spaces, and gathering spaces (jangos). This proposal was a response to a local effort to unify the three existing settlements.

This prototype was designed in three scales: master plan, clusters, and building. Its design, and its challenges, facilitated the creation of a balanced program.

GOLFING PAVILION

Project Type: Pavilion

Location: Brookline, Massachusetts, USA

Year: Summer, 2017, Design + Build

The project draws inspiration from the trees and woods surrounding the golf course, and its shape is based on a Doyle spiral of interlocking hexagons that incrementally increase in size. This academic course was made up of 9 students, including myself. Through this process we learned the value of collaborative practice and design. The pavilion’s wooden supports branch out from five steel columns up to the connecting nodes that hold the roof structure. The aluminum canopy of the roof is composed of triangular pieces that come together to form a pyramid-like structure. The central portion of the roof is more solid as it provides protection from the sun and rain above the bar and table, while the wider openings closer to the edge of the overall space increase in size.

NATURE’S SHELTER

Year: May 2018

This Tinyhouse was designed for artists in residence at Salem Art Works, a space where young emerging and established artists can create new work and promote the understanding and appreciation of contemporary art within the Lowe Adirondack/Saratoga and Southwestern Vermont regions.

Our design stemmed from a desire to give a light interior feeling, while honoring the natural surroundings, like a tree house. The space is laid out with two bedrooms connecting to the outdoors via the transitional core, a small space that welcomes the light of day or shadows of the night through the translucent roof and wall panels. The core’s double doors can be kept open, combining the space with the small port to a welcoming outdoor room, shielded from capricious summer showers.

Project Type: Tinyhouse Artist Residence

Location: Salem Art Works, Salem, NY

CORE

BEDROOMS

IMAGINATIONS OF HOME

Project Type: Exhibit and curation; public education on affordable housing

Location: Boston, Massachusetts, USA

Year: 2021-2022, Professional Projects

The Imaginations of Home exhibition explores housing through a variety of perspectives: of professional groups reimagining housing models in Boston, and the perspective of young people, and of students with proposals for affordable housing in Boston. As co-curator, I selected materials for the Future-Decker – a new iteration of the iconic triple-decker, which was build in Boston on small parcels. Triple-deckers were built en masse between 1880 and 1930, today the same buildings are difficult to build due to high construction costs, high cost of land, as well as zoning that does not allow for these to be built across the city’s neighborhoods often in areas where they are existing. Our research included community conversations with residents, research on the topic, and a partnership with the Wentworth Institute of Technology. Additionally, we presented the responses to the first phase of the “Co-creating Boston’s Future-Decker” competition in 2021, where teams shared their ideas for housing that can be built on small parcels across the city.

Upon the completion of the triple-decker research, I created a virtual exhibition titled “Past, Present, Future-Decker” to showcase this effort of architecture research. The material from this virtual exhibition were then designed onto panels by graphic designer Joelle Riffle, and were shown in the in-person exhibition at the Boston Society for Architecture.

Community conversations with residents about Triple-deckers

We gathered with residents at the Boston Public Library Branch in Egleston in 2020 to learn about folks’ experiences with triple- or three-deckers. We created materials for a workshop that helped to facilitate a discussion about the future of this building type. At the start of the workshop, all participants worked together to create a triple-decker poem (three part poem written by 3 individuals).

Sketch Night, for the Request for Ideas (phase 1 of the competition):

Upon releasing the Housing Innovation Competition titled “Co-Creating Boston’s Future-Decker”, we organized a series of events inviting participants to collaborate in the co-creation of a Future-Decker idea. We hosted an infosession, a networking event, and a Sketch Night where participants were paired with artists and designers to sketch out their ideas in real time. The first phase of the competition, the RFI, closed on July 31st of 2021 and over 20 responses were submitted.

EXPOSIÇÃO NA SOCIEDADE DE ARQUITETOS DE BOSTON

C

PHOTOGRAPHY (2022)

Poetic Photography: A Collaboration

A series of photos inspired by the work of poet and friend, weinong teng (also translated into portuguese)

tonight, we drink from the moon, cut our lips against the edge of her. a planetary body—i am only orbit, am only a dark-winged owl.

look: i am only a rust-heavy blade, walking out of the reservoir gill-necked, moonlight dripping from my mouth, eyes an empty planet.

look: i am drowning sorrow in the kitchen sink, my body a yawning ditch, tide-starved. when will the ocean return to this parched husk? all my dead loves walk out of the sea and i—

hollow boned and floating, i dream of her laughter. wear her hands to work and the moon pulls me in with the tide, my body an overflowing reservoir.

esta noite, bebemos da lua, cortamos os nossos lábios contra a borda dela. um corpo planetário — sou apenas órbita, sou apenas uma coruja de asas escuras.

veja: sou apenas uma lâmina enferrujada, saindo do reservatório com pescoço de guelra, luar escorrendo da minha boca, olhos um planeta vazio.

olha: estou afogando a mágoa na pia da cozinha, meu corpo é uma vala escancarada, faminta pela maré. quando o oceano voltará a esta casca seca? todos os meus amores mortos saem do mar e eu—

ossada e flutuante, eu sonho do riso dela. eu uso as mãos para trabalhar e a lua me puxa com a maré, meu corpo um reservatório transbordante.

here: my teeth cracked open. bloody spillage. upturned trees. years, ripped out at the root. at this altar of my childhood i lay down my wrists, eyelashes, spit. i do not want to sacrifice more. i do not want to love again but i do. i lay down my knuckles, my smile, the skin of my thigh. how many parts can i scrape out—this is not for you. you would not take this sweat-veined offering, you would not pull out the lining of my stomach. forgive me, i do not know how to love without sacrifice. without skinning myself to the marrow. forgive me, for turning our love into slaughter.

aqui: os meus dentes se abriram. derramamento de sangre. árvores viradas. anos, arrancados pela raiz. neste altar da minha infância eu deito meus pulsos, cílios, cuspe. eu não quero sacrificar mais. eu não quero amar de novo, mas ainda assim amo. eu coloco meus dedos, meu sorriso, a pele da minha coxa. quantas partes do meu corpo posso raspar—isso não é para ti. tu não levarias esta oferta suada, tu não retirarias o forro do meu estômago. me perdoe, Eu não sei como amar sem sacrifício. sem esfolarme até a medula. me perdoe, por transformar nosso amor em um massacre.

Sincerely, Wandy Pascoal wandypascoal@gmail.com