About me
As one of the main professional achievements, I would like to point out my involvement in the design of an Art Gallery for Goldsmiths, London. I have also been involved in several other projects, as well as competitions. Thanks to this experience I have gained practical skills in designing and work scope framing, project planning scheduling and design communication.
During the last years of my studies, I have tried to develop myself as a person with different interests, critical spirit and accept several challenges. Furthermore, I have good communication skills, sideways with a team orientation and spirit and an easily adaptation to new contexts and environments. I speak fluently English, Portuguese as a native speaker and I am also able to keep a conversation in Spanish. If needed, I am easy on learning new languages. In addition, I am also able to work with different software, such as CADsoftware, image editing, 3D modelling and rendering, and basic BIMsoftware.
Projects
- Lauri Vitta LibraryPispala is a unique location where the gradation of the land falls to frame lakes and woodlands around the base of the site. Few opportunities exist within Tampere where one can witness this perspective of the lay of the land and observe the discourse between city and nature. My intention is to use the familiar typology of a library to not only react to the surrounding context but create an interplay between exterior and interior. The austere tectonic of the concrete block gives little away to t
- Goldsmith Art Gallery, LondonExhibition Spaces for Goldsmiths, University of London, London, UK Selected Competition, 06.2014 - 07.2014 The site for the new Goldsmiths Art Gallery is a London archetype: dense, chaotic, intricate and yet at the same time immediately familiar. Formed from a juxtaposition of individual elements, volumes and levels with varying degrees of accessibility, the picturesque composition of the existing building remains immersed within the atmosphere of the surrounding campus, yet at the same time detached from its activity. The building’s derelict water tanks are confidently expressed and celebrated. The innate presence of these original cast iron tanks is at once the existing structure’s clearest identity and opportunity but at the same time its biggest challenge. How can we integrate the new gallery program to actually inhabit these spaces for the first time in their century long history? Our response is derived from the character and complex architectonic composition of the Laurie Grove Baths. The spaces, structure & materiality of this existing Grade-II listed building will also act as a silent stakeholder within the design process, informing and guiding its implementation as it progresses by working with its existing components to form a series of gallery spaces that improve the accessibility, functionality and interaction between its currently disconnected spaces to create a focal point for the Department of Art. We propose to utilise the morphology and material language of its components we are able to expand the building whilst avoiding the addition of any new elements within its existing architectural vocabulary. In this way the architectonic components and inner spatial organisation of the existing building provide us with the essence of the project itself. At its core the proposal has three main parts; the gallery spaces in the rehabilitated and expanded water tanks, a new lift core and staircase intervention within the volume of the existing water tower and a range of different gallery spaces on the levels below. The site for the new Goldsmiths Art Gallery is a London archetype: dense, chaotic, intricate and yet at the same time immediately familiar. Formed from a juxtaposition of individual elements, volumes and levels with varying degrees of accessibility, the picturesque composition of the existing building remains immersed within the atmosphere of the surrounding campus, yet at the same time detached from its activity. The building’s derelict water tanks are confidently expressed and celebrated. The innate presence of these original cast iron tanks is at once the existing structure’s clearest identity and opportunity but at the same time its biggest challenge. How can we integrate the new gallery program to actually inhabit these spaces for the first time in their century long history? Our response is derived from the character and complex architectonic composition of the Laurie Grove Baths. The spaces, structure & materiality of this existing Grade-II listed building will also act as a silent stakeholder within the design process, informing and guiding its implementation as it progresses by working with its existing components to form a series of gallery spaces that improve the accessibility, functionality and interaction between its currently disconnected spaces to create a focal point for the Department of Art. We propose to utilise the morphology and material language of its components we are able to expand the building whilst avoiding the addition of any new elements within its existing architectural vocabulary. In this way the architectonic components and inner spatial organisation of the existing building provide us with the essence of the project itself. At its core the proposal has three main parts; the gallery spaces in the rehabilitated and expanded water tanks, a new lift core and staircase intervention within the volume of the existing water tower and a range of different gallery spaces on the levels below.
- Northern PromontoryBeauty, Inspiration, Magic, Spellbound, Enchantment, are some of the words that come to mind when you think of the breathtaking view at the pictures site of Geiranger. The Promontory proposed acts as a place for serenity, silence, intimacy and amazement, as it also offers a viewing platform that establishes a bonding link between the village, the natural environment and the sky. The project embraces the experience of the location and nature as it prolongs itself towards the heart of the fjord bay. The concrete slab-like promontory generates a clear dialogue between nature and man, bringing them together. The design creates a series of prepositional relations that describe the unique and overwhelming spatiality of the site. As a promontory, the building acts as a prominent mass that overlooks the water and the fjord. The rock-like external concrete look and the minimal design of the facades give the project the look of a floating slab. This minimalistic design achieves a harmonious relationship with the surrounding environment without changing drastically the village overall image and landscape. Nevertheless the building clearly distinguishes itself from the existing reality.
- Dance AcademyThe progress this year was quite large, and without doubt, a building project of a public character is quite different from what has been done so far. The site chosen in Matosinhos, is a land with incline very large with about 7m, and thus it is necessary to understand how we can embrace the modern, the new, consolidated in the city. As a public building, includes a grid number of people to access, and how school asks even more understanding of the distinction of spaces with public and private character. In this project, the deployment settled in the area attached to the terrain at an elevation higher, by developing the lower elevations, more approximate the lower areas of public space. this way, I include private areas closer to the consolidated area (alignment with the design of the boxes), keeping the altimeter. Therefore turned the public areas for the public space, the square created on the edge of the street with an altimeter with a closer relationship with citizens.
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Work history
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ArchitectOODA oporto office design and architecture
PortugalFull Time
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ArchitectCarlos Coelho Consultores
Leça da Palmeira, 4450 Leça da Palmeira, PortugalFull Time
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Skills
- Autocad
- Rhino 5
- Architect
- Architectural Design
- Autocad 2-D
- Adobe Illustrator
- Adobe Indesign
- Adobe Photoshop
- Revit
Education