Dieter Hans Matuschke - Architect

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dieter hans matuschkeARCHITECTEDUCATION 2002-14 - DHM Architecture Founder Director 2001-14 - Faculdades Integradas da Unio Educacional do Planalto Central (Faciplac) - Braslia - DF Tutor of Computer Graphics for Architecture Classes (AutoCAD and 3D Studio Max), Design Studios and Graduation Project Advisor. 2003-14 - Centro Universitrio de Braslia (UniCEUB) - Braslia - DF Tutor of Computer Graphics for Architecture Classes (AutoCAD and 3D Studio Max), Design Studios and Graduation Project Advisor. 2011 - Universidade Castelo Branco - Rio de Janeiro - RJ Visiting professor in the Interior Design Post Graduation Course (Residential Design Studio) 2002 - Universidade de Braslia (UnB) - Braslia - DF Substitute professor of Computer Graphics Classes 2001 - Tao Architetura-Paulo Henrique Paranhos -Braslia - DF Drafting, modeling and rendering projectscurriculum vitae* 3D Studio Max - advanced * Adobe Suite - intermediate * Auto CAD - advanced * Cura - advanced * Grasshopper - intermediate * Processing - begginer * Maya - advanced * Miarmy - advanced * Revit - intermediate * Rhinoceros 3D - advanced 2016 - Architectural Association M.Arch Architecture and Urbanism Design Research Laboratory (AADRL) Studio Schumacher 2013 - Universidade de Braslia M.Arch Architecture and Urbanism (unfinished to start the AADRL) 2009 - Universidade Castelo Branco (Rio de Janeiro) Post Graduation in Lightning Design 2001 - Universidade de Braslia (UnB) B.Arch Architecture and Urbanism Assistant Tutor of AutoCAD and 3D Studio Max; Project of a cultural center selected in a competition to represent the University at the Architecture Biennale of So Paulo; Graduation Project exhibited at Architecture Biennale of Braslia and selected to represent the university at Archiprix (World's Best Graduation Projects Competition) in Istambul, Turkey SOFTWARESWORK EXPERIENCE KEY ACHIEVEMENTSOTHER INTERESTS Dieter Hans Matuschke Date of birth: January 5th 1975 Nationality: German and Brazilian Licensed Architect: CAU A76813-8 References Pierandrea Angius Studio Tutor AADRL Lead Architect Zaha Hadid Architects Theodore Spyropoulos Director AADRL Director Minimaforms Contact +55 74 7867 4006 Flat 30 Mayford, Oakley Square London - UK Nw1 1NXMY OWN PROJECTS* Arts in general * Reading: Architecture Philosophy Scientific research * Sports: Bicycling Diving Skateboarding Snowboarding * Travelling to: Know other cultures Taste different cuisines Visit interesting buildings and museums * First place at the IAB MD Competition in the category Best Built Interior Design - For the Loft Ones design, in Braslia -DF (2005) * Honorable Mention at the Architecture Bienalle of Braslia -For the Hotel Culturas design, in Visconde de Mau - RJ (2003) * Open my own practice one year after graduating from UnB (2002) * First place at the Competition for the design of Council of Engineering, Architecture and Agronomists from Alagoas - CREA-AL (2002) * Participation on the Archiprix Best World Graduation Projects in Istambul, Turkey. Attended also to the workshop there. (2002) * Second place at the Competition for the design of the Council of Engineering, Architecture and Agronomists from Espirito Santo (CREA-ES) Participated in the architect Nonato Velososs team (2001) * Honorable Mention at the Sixth Edgar Graef Awards - For my graduation project (2001) * Started teaching in an University as soon as I graduated from UnB (2001) * Portuguese - native * English - fluent * Spanish - intermediateLANGUAGES2014 - PA House (under construction) - Braslia - DF 2013 - Renovation of Renato Arcanjo's apartment (built) - Guar-DF 2013 - Unparallel(ed) House (unbuilt) - Braslia -DF 2012 - Bamboo House (unbuilt) - Varjo -DF 2012 - Renovation of common areas of a residential building (built) - Aguas Claras - DF 2012 - Renovation of Flavia Bicudo's apartment (built) - Guar-DF 2011 - (Un)aligned House (unbuilt) - Braslia -DF 2011 - Renovation of Marcos Mendonas apartment (built) - Guar-DF 2010 - Perforated House (underconstruction) - Braslia -DF 2010 - Idlibe advertising agency (built) - Braslia -DF 2010 - Folded House (built) - Braslia -DF 2009 - Brise Soleil House (under construction) - Braslia -DF 2009 - Renovation of Janaina Alves' apartment (built) - Braslia -DF 2008 - Dulce Carola clothing store (built) - Braslia -DF 2008 - SEBRAE Headquarters (competition entry) - Braslia -DF 2007 - Organic House (built) - Braslia -DF 2007 - CAPES Headquarters (competition entry) - Braslia -DF 2006 - Renovation of common areas of a residential building (built) - Braslia -DF 2005 - Renovation of Manuel Pereira de Araujo's House (built) - Braslia -DF 2005 - Slope House (not built) - Braslia -DF 2005 - Loft One (built) - Braslia -DF 2004 - Personal Floor Stand in Casa Park Mall (not built) - Braslia -DF 2004 - Caf Cristina Coffee House (built) - Braslia -DF 2004 - Patio House (built) - Braslia -DF 2004 - Renovation of the facade of a residential building (built) - Braslia -DF 2003 - Hotel Cultura (not built) - Rio de Janeiro -RJ 2003 - 4 House (built) - Braslia -DF 2003 - MG House (built) - Braslia -DF 2003 - Moa Bonita clothing store (built) - Taguatinga -DF 2003 - Renovation of Maria Velozo's apartment (built) - Braslia -DF 2002 - CREA AL Headquarters winner entry (not built) - Macei-AL new zaha hadid architects headquartersAADRLThe project for the new Zaha Hadid Architects Headquarters was developed in the Design Research Laboratory master program at the Architectural Association. The Studio Patrik Schumacher's brief was to involve semiology, biomimicry, kinetic architecture and crowd simulation. The site is the existing Design Museum in London. To begin, a series of physical prototypes were developed, inspired by the movement of some animals and plants like the armadillo lizard that curls its body to protect itself from the predators, and the Brazilian butterfly flower that during the day opens its petals to capture sunlight and at night folds into a more compact shape. Further on, digital models were used to simulate more complex geometries and actual applications of the systems that involved this type of movement. Desks that could reconfigure the layout of the office space automatically, stairs that could control circulation and visibility between different areas, mezzanines that could bloom (open and unfold from a compact and folded state) creating more office space, and finally partitions systems with multiple functions that could be moved around and placed strategically wherever needed, were the most important prototypes developed during the course. The semiological aspect of this prototypes was constantly tested by crowd simulations, which would inform what and how they could be improved and evolve to signal, i.e. exchange information with the users, enhancing the interaction between them and the office enviroment. To sum up, the goal was to create an ecology of this prototypes, where the life processes of the workspace would be enhanced and improve creativity, collaboration between teams and happen naturally by the interaction of all the agents involved in it, people and prototypes.The way that light affects the wings of a dragonfly, having different colours depending on its thickness, served as the inspiration for the choice of material for the envelope of the building, a material that could inform its transformation by changing its colours. Composed of a clear flexible resin sandwiched by two layers of UV films a photoelastic material had the ideal properties for such purposes, being clear while at rest and registering different colours when stressed.2016new zaha hadid architects headquartersAADRLThe double height floors in the design museum served as the inspiration to create mezzanines that would increase the amount of office space, to accommodate the large number of employees from ZHA. To reach this mezzanines, a staircase system was developed even before the mezzanines were created. The idea was to restrict access to it, by either curling the treads around a center pole, as the armadillo lizard, or folding them up, as the mimosa pudica (above). The latter was used in the first iteration of the flower mezzanine, but the former proved to be not as mechanically practical and had no further developments. The third iteration does not resemble the shape of these first two and the reason for that is because it was created from a different strategy, which is to separate the office space from the meeting areas that originally were respectively at the rear and front parts of the building. The diagrams on the right of this page illustrate how the idea evolved from aligned floors that could only be separated with the use of walls, to the option where the floors are staggered and connected fluidly by stairs cases that allow access and partial visibility when opened, but could roll up and block not only access, but views as well. staircase prototypesThe further iterations explored instead of two lateral structures at the extremities of the tread, one in the middle and finally instead of a straight shape, a tapered and wider one with two structures along its width, so instead of the original three staircases beside each other, just one with the same width as them. The tapered and curved edges would allow a more fluid integration with the cuts made on the slabs (atriums), making the transition from floor to floor even more seamless and fluid. Both extremities of the treads in the last two iterations, are slightly curved upwards as a way to inform where the user should not step on.CONNECTIONHINGE JOINTTREADSTRUCTUREGEOMETRIC DEFINITION + ROTATION ANGLESTREADSTRUCTURESTAIR CASE - ACTUATED PHYSICAL MODELnew zaha hadid architects headquartersAADRLThe first iteration of the desk system was based on one of the first kinetic prototypes, the layered one that has different curvatures controlled by its joints and the length of each part. The system then had five layers with different heights for different purposes and seven parts per layer. They could have three different postures, straight, in which it would work as a partition and curled to two opposite directions, in which it would create seats and enclosure for informal meetings on one side, and desks on the other side. Although the system seemed to be very flexible and versatile, when applied in the space of the Design Museum, because of the large amount of columns in contrast to the considerable length of the system, it proved to be not as practical as initially thought. Therefore, the next iterations were based on the constraints from the last, they instrumentalized the columns as the connection point to all the desks, so they could spin around them depending on the needed layout. As a set o three, they would form a quarter of a circle when curled, so when there is a second set beside it, they would form half a circle, increasing progressively the amount of people per team, until you can finally have a full circle of a team of 12 working together. This way the layouts formed by several sets vary from rational patterns, to very fluid and interesting layouts, as seen on the far right of this page. You could also control the flow of people and interaction between teams with them. Thus, if the teams would need more privacy the desks could create enclosed clusters, or in contrast, if they want to interact and collaborate more, the desks could create open layouts with various pathways so the people from different teams could see what others are working on and exchange ideas about it. The system is also a plug-in/ plug-out one, so it is customizable to the exact amount of employees. The first two variations of desks for this system had the curved shape mentioned before and a support on one extremity. One of them had a built in partition, which on the last two variations, was mirrored to the bottom of the unit, so it would behave also as its support. This solution allowed the system to curl in two directions by flipping the unit upside down to create the arched shape in the other direction as well. PARTITION ITERATIONS + POSTURES - PHYSICAL MODELSdesk + partition prototypesIn order to enable the employees to have a meeting at their desks, a decision was made to disconnect the partition from the desk, so it would be easier to create a meeting room as seen on the diagram in the middle. A final iteration of the desk (below) was created so the desk would be able to curl in both direction without having to be flipped, which would simplify and speed up the process. Three iterations of the partition were developed not only to work with the desks, but also to separate spaces around the office or gallery, to be used as a pinwall, as a stand in the gallery, a seat or even a chez longue. The system has double hinges as joints, which facilitate to assume different postures. They can have from one to three layers, each part can have different lengths and heights, so it could be put together in various ways depending on its use. The first iteration has a symmetric unit that has limited postures. The second is based on an asymmetric shape that enables more postures and to get more compact while it is moved around. Finally the last one had a more organic shape, as the scales of a pangolin, which inspired the system since the zaha hadid architects headquartersAADRLThe mezzanine prototype was inspired by the behaviour of the Brazilian Butterfly Flower, but flipped upside down and with more petals, so when they fold and close, the whole shape gets even more compact. Its first iteration (top) had a hybrid version with the shape of a golden spiral, it was a mix between the first staircase that would transform into a mezzanine, so there would be a direct access to it and the rest of them. Further on, because of the amount of wasted space produced by the staircase, it was removed. Therefore, to solve the accessibility problem a fixed mezzanine was created, with elevators and fire stairs that would lead to it, so the flower mezzanines would be accessed from the fixed one. The second iteration (right and bottom) aimed to solve the connection between the mezzanines, the lack of railings and how to get desks on top of them so people could work there. The connection was solved by creating two different types of petals (stabs), a positive and a negative one, so all mezzanines would have the same shape, with an intercalated 45 degrees rotation to fit into each other. The desks and railings issue was solved all at once by creating desks around the perimeter of the mezzanine, they would fold passively when the floor (petals) folds to close or to open the mezzanines. The last iteration (opposite page) has an asymmetrical shape that can spin to make more interesting connections depending on their rotation . The spinning movement would occur before it opens, so it would also inform users of what is about to happen. A ring with ball bearings enables them to spin and the folding of the petals and rotation of the stem (beam) are actuated by hydraulic pistons. Structurally the mezzanine works as a mushroom slab.The mezzanine prototype was inspired by the behaviour of the Brazilian Butterfly Flower, but flipped upside down and with more petals, so when they fold and close, the whole shape gets even more compact. Its first iteration (top) had a hybrid version with the shape of a golden spiral, it was a mix between the first staircase that would transform into a mezzanine, so there would be a direct access to it and the rest of them. Further on, because of the amount of wasted space produced by the staircase, it was removed. Therefore, to solve the accessibility problem a fixed mezzanine was created, with elevators and fire stairs that would lead to it, so the flower mezzanines would be accessed from the fixed one. The second iteration (right and bottom) aimed to solve the connection between the mezzanines, the lack of railings and how to get desks on top of them so people could work there. The connection was solved by creating two different types of petals (stabs), a positive and a negative one, so all mezzanines would have the same shape, with an intercalated 45 degrees rotation to fit into each other. The desks and railings issue was solved all at once by creating desks around the perimeter of the mezzanine, they would fold passively when the floor (petals) folds to close or to open the mezzanines. The last iteration (opposite page) has an asymmetrical shape that can spin to make more interesting connections depending on their rotation . The spinning movement would occur before it opens, so it would also inform users of what is about to happen. A ring with ball bearings enables them to spin and the folding of the petals and rotation of the stem (beam) are actuated by hydraulic pistons. Structurally the mezzanine works as a mushroom slab.mezzanine prototypesCOLUMNRINGBALL BEARINGSTEM (BEAM)PETAL (SLAB)CLOSE OPEN MEZZANINE SECTIONBUILDING SECTION - PHYSICAL MODELThese crowd simulations demonstrate not only few possibilities and postures that the latest version of the prototypes enable in the office space, but also the interaction between the different agents: people/ prototypes and prototypes. In the first sequence the desks used by a team of six people reconfigure into a meeting posture, and at the same time, the partition that was wrapped around a column, unfolds and moves around the space to create enclosure and privacy. The mezzanine in the second simulation starts to spin to signal that its is about to blossom, a movement needed also because its asymmetrical shape has to negotiate with other objects before it can open-up, so they would not hit but fit into each other. The employees that are interested in finding a new place to work notice that and climb up the stairs to reach the mezzanine level. The stairs then curls up, and reconfigure into a bridge posture, allowing them to reach their destination. The last simulation shows the desks reacting to the opening of the stair case when a meeting is about to happen. As the stairs uncurl, the desks from the teams that should go to the meeting also uncurl, moving away from the employees and informing them that they are supposed to p a r t i c i p a t e i n i t . B e s i d e s t h a t communication the desks also inform where people should go to, by creating a pathway that leads to the stairs that they have to climb in order to reach their destination. After everyone arrives at the meeting area the stairs curl up again, creating enclosure and blocking the view and access to zaha hadid architects headquartersAADRLThe column grid and most of the slabs were kept from the original building, but in order to accommodate the large number of employees from ZHA, four extra floors were added. Two main cores were also added in both ends of the building, the elevators, fire stairs, kitchenettes, storerooms and restrooms are located there. The new facade created a frame around the mezzanines that are aligned with it, the material expands and changes from transparent and flat, into a colourful bubble like shape as the mezzanines bloom, registering and informing changes from the inside to the outside of the building. In order to bring more life and light into the alley that crosses the middle of the building, a set of bleachers, with built in stairs and glazing in between seats was placed around it. The glazing allows the cars and pedestrians that are passing by to have a glimpse of the gallery space, which is located on the ground and first floors. These bleachers also work as an exhibition space where models and objects could be displayed, or they can be used as an area to present videos, to have lectures and employee training. The office space is located from the second floor all the way up to the roof, where there are also bleachers that connect the two levels of the terrace. They have built in stairs and the glazing in between seats as well, allowing visibility between outside and inside events. On the seventh floor along the bleachers, there is a cafeteria for the employees, so they can use the bleachers to meet, have meals, or just sit and contemplate the very inspirational views of the Thames and the surroundings. The executive offices are at the top floor of the building, the only floor which is permanently isolated from the rest, i.e. there are no cuts in the slab, so there is no direct visual connection with the other floors and to reach it, one would have to use the elevators or the fire stairs. All the floors bellow are integrated with large atriums, but can be isolated as well, by the stairs that connect or disconnect the floors, both physically and visually. Those atriums also separate the different team clusters that occupy the same floor, so as much as everything is integrated, it is also subtly separated.crowds + buildingBUILDING - PHYSICAL MODELgenerative craft workshopAADRLPOINT CLOUD POLYMESH LOW POLY BASIC GEOMETRY GOLD LASER SINTERING 3D PRINTINGHEAVIER/ NOT VIABLE LIGHTER/ AFFORDABLEFINAL GEOMETRIES - VIEWS + ITERATIONS5cm5cm5cmBASIC GEOMETRY2016Shajay Booshans Generative Craft workshop was based on a C++ script that would simulate the chemical reaction called reaction diffusion. The script was based on many parameters that would generate a particle animation that could be paused at any given moment. After choosing particular moments when the particles formed an interesting shape, a point cloud would be exported and transformed into a polymesh. Based on these polymesh, a basic low poly geometry would be modelled, and finally a sequence of transformations would be applied to it, to create a complex cohesive geometry. The intricacy of images such as the ones produced by Ernst Haeckel would serve as the initial inspiration. The final step was to evaluate them as a printable object, the choice here was a Laser Sintering method of additive manufacturing, because of the complexity, small scale and fragility of the models. Based on a printable volume of 5x5x5cm in which the geometries would be fitted inside, they were then evaluated by the printing speed and amount of material used, that since in this case was gold, would make the geometries either be affordable to produce or not viable. FINAL GEOMETRIES - VIEWS + ITERATIONSAs an analogy to the dynamic life of their owners, a couple with two children, full time jobs, and a large family, this couple frequently gathers their friends and family, as well as their children's friends, for dinners, barbecues and parties. This house's concept is based on a dynamic shaped building, composed mostly of unparallel walls, and an entrance pathway that leads to all the social areas of the house, ending at the gourmet veranda, where they can host most of their events. As you walk through this pathway and pass the front door, you will see the dining and living rooms on your right, a stair case to the first floor, and the kitchen on the left. Moving forward, it leads you onto the outside garden, where you will find a large swimming pool, and finally the gourmet veranda. There is an office/guest room on the ground floor, but all the other bedrooms are above, on the first floor. The master suite is separated, by the family room, from the other two suites, and is located at the rear of the site, as a strategy to capture the beautiful view of the landscape located at the right, which is blocked in the front part of the site by the neighbors houses.GROUND FLOOR1 FLOORunparallel(ed) houseSINGLE FAMILY HOUSEThe entire first floor is arranged in a way that creates a patio, blocking the view of the neighbors into their garden and events, but not the sun light, and leaving the three native trees, originally existent in their garden, intact. In the concrete volume to the left of the entrance, are the garage, laundry room, employee's room and the kitchen, the latter with an easy access to the garden and gourmet veranda, and in the concrete volume to the right, are the office and a vanity unit. 2013NCCBACCBACCBABABABAThe concept of this house, located in a site that is sloped to the left, is the arrangement of a group of rectangular prisms with different dimensions, finishes, depths, levels, and openings, around a central concrete volume. This arrangement is not random, its intention is to explore different sensations, perspectives, and views in the variable scales and levels, enhanced by the carefully placed openings of natural light either on the walls or at the ceiling. The house has 8 different levels, at the bottom is the g a r a g e , t h e e m p l o y e e s accommodations and the laundry room. As you go up a few steps you would get to the sauna level, where there are also changing rooms and restrooms for both genders. From there, you could get outside to the swimming pool and jacuzzi level, or take the inside stairs, to the entrance hall. This last room is the center of the house (concrete volume), it is accessible by a pedestrian walkway, over a reflecting pool that uses the water of the swimming pool. For that to happen, the water from the swimming pool is pumped onto the cascade that fills up the reflecting pool, then falling through another cascade back into the swimming pool. These cascades, besides the visual appeal and relaxing roll they play at the swimming pool area, also help with the sensorial concept of the house. As you walk in through the large double higth wooden door at the entrance, you have access to the owners psychology office, a vanity unit, and a guest suite. Going further, you reach the kitchen on the left, and the living and dinning room area at the right, where there is also a home theater (wooden wall). At the last two levels are the master suite, an intimate living room and the other two bedrooms. Except for the center volume, all the other ones form cantilevers from 2 to 5 meters. SECTION A-A SECTION B-B SECTION C-C1 5 15(un)aligned houseSINGLE FAMILY HOUSE NCCBACCBACCBABABABA2011GROUND FLOOR FIRST FLOOR UNDERGROUND FLOOR1 5 15 BEDROOMBEDROOMS/ FAMILY ROOMHOME THEATER/ LIVING/ DINNGENTRANCE HALL/ STAIRSGARAGE/ LAUNDRY/ EMPLOYEESSAUNA/ CHANGING ROOMPRACTICE/ GUEST/ KITCHENSWIMMING POOL NA ABBA ABBSeparating the intimacy of the house from the view of the neighbors and the garage, this house has a large perforated concrete wall, which folds and covers the guest entrance and an atrium where the staircase and a reflecting pool are located. The latter begins on the outside, with a pathway that leads to the front door, and ends underneath the stair case. This project has the intention to value the beautiful view of the city, since it is located at a special site, with a great view of Braslia and its most important monuments. Therefore, all the bedrooms have large openings to that view, as well as the living room and dining room. Because this same facade is oriented to the sunset (northwest), the strategy to lower the heat gain inside the house, was to create a wooden brise soleil and a balcony on the first floor, also creating a large cantilever built by the volume on the first floor, to protect the dining and living rooms located on the ground floor. Besides these two levels, first floor and ground, the house also has a slightly lower level, three steps bellow the ground level, where you will find the gourmet veranda, directly connected to the kitchen, a home theater, an outside bathroom, and the pool. The arrangement of four distinct volumes around the concrete wall, compose the whole house. The one with the volcanic rocks finish holds all supporting areas, the laundry room, employee's rooms, kitchen, gourmet veranda, home theater, and pool bathroom. The volume with the corten steel finish, contains the vanity unit, and an outside storage facility at the ground level, and a bathroom, a closet, and the access to the water tank (located right above it), on the first floor. These two volumes support the two white volumes on the first floor. SECTION A-A1 5 15mSECTION B-BGROUND FLOOR FIRST FLOORperforated houseSINGLE FAMILY HOUSEThe longer white volume encloses all the bedrooms, and the void created underneath is where the living and dining rooms are located. The smaller white volume has the large bathroom and closet of the master suite, and in between these two volumes, there is a small terrace. This last white volume extends and folds in a way that creates a space underneath it, where the garage is situated. Finally, the concrete folded wall, mentioned above, sums up the whole composition.2010Sebrae is an institution that trains small businessman and entrepreneurs to promote the development and improvement of small businesses. The site is located in the center of Braslia facing a very busy area of town, but with a nice and peaceful view of the lake Parano at its rear. The projects brief required a large space with two large auditoriums, small training rooms, a spacious cafeteria, a lot of office space for administrative purposes and an elegant bistro. As the legislation imposes, 202 parking spots needed to be created because of the total building area of 14.000 square meters. The strategy for this project was to make a very inviting entry for the pedestrians at the front, and a wide plaza at the back of the building, with the great view of the lake, surrounded with the training areas and the large cafeteria, all with a very intuitive circulation. For that, a box cut diagonally with the two dislocated resulting triangular shapes form the two main volumes of the building, both tilted in opposite directions as an insulation strategy. Two additional rectangular volumes were added to the composition, they arrange two strategic trapezoidal shape areas, the entrance and plaza, and fulfill all the rest of area needed for the building. The two auditoriums at the plazas level are located at those volumes. As you approach the funneled entrance of the building you could either go up, by a ramp, with a slight inclination, that leads to the offices main reception, or you could go down, trough a very large staircase to the training areas foyer. At the bottom of the building is the garage with the 202 parking spots, and at the top, is the CEOs meeting room, surrounded by a large reflecting pool, used also to collect rainwater for reprocess, the bistro with an internal area, and a terrace with tables where you can behold the great view of the lake.sebrae headquartersCOMPETITION ENTRYSECTIONS + FACADES2008IDEA DEVELOPMENTCUTPLANSPLAZAWITH VIEW INVITINGENTRANCESLIDE TILT RESULTADDloft oneCOMPETITION WINNERThe Loft One was the winner of the Best Built Interior Design in the 2005 IAB MDs (Institute of Architects of Brazil and Mercado Design) competition.Its concept was inspired by the fact that in the 90s the offer of reasonably inexpensive sites to build residences increased, and as a result, a lot of young people acquired many of this sites on the outskirts of the city, but as they got older and intended to build their homes, they faced the fact that construction prices were too high, making it impossible to build even a small house.As a solution, I proposed a pre fabricated loft of 60 square meters that would have everything a single person, or a couple would need to live until they become financially stable enough to build a larger house, and transform this loft into a pool house, or just a part of the larger house. The loft could be deployed in any site without the need of major interventions on it, or relocated to fit into a new scheme, or even another site. The formal concept is a box inside a box, with a lot of versatility in their functions, so they could change according to the residents needs. In the larger box all the major functions are distributed, the bedroom, kitchen, dinning room and living room. The smaller wooden box hides the supporting functions, the bathroom in the middle, wardrobe, TV, and desk in the bedroom, and finally the refrigerator, cabinets and sink in the kitchen. The house as a whole is supposed to be functionally versatile, for example, if the resident needs more space to exercise, or to have a dance floor during a party, the bed could be folded into the niche. In the living room, the retractable screen and projector could be hidden in the case of a more formal event, and also the back support from the sofa could be flipped to be used on the other side as stool in case there is a larger event, with more people. The walls of the bathroom are red, contrasting with the light colors of the rest of the house, reflecting the young spirit of the residents. An abstract sculpture was placed outside to contrast with the simple straight lines of the building. All the lighting of the house is programmable in 8 different settings that can vary depending on the residents mood or occasion.2005Conceptualized as a series of folded ribbons (white and green) that would go across interconnecting three different areas, lounge, bar and canteen, this project intends to reflect the contemporary spirit of a new brand of gourmet coffee called Caf Cristina. The ribbons distributed around the space, overlap and define important elements of the space like the counter of the bar, the tables of the canteen, and a menu/ card holder near the entrance. They are also used for the placement of the speakers and the majority of the light pieces either at ceiling or underneath the tables. The circulation and lounge have a grey rubber floor differentiating it from the other two areas, the bar and canteen, that have a white epoxy finish. The concept of the folding ribbons also occurs at the canteen floor near the projection screen, where it becomes a bench and a table, both with the same finish as the floor. The same happens at the bar where the sectioned wall folds into a partition which separates the entrance stairs from the bar. The sectioned part works as a niche where, with punctual light, all the packages of all the different kinds of coffee from the brand are displayed. The lighting project carefully placed the light fixtures to highlight the architectural elements and create a differentiated atmosphere.caf cristinaCOFFEE HOUSE 2004This project was the winner of a national competition to design the head quarters of the Council of Engineers, Architects and Agronomists (CREA), in Alagoas,Brazil. The elements that defined the design were the L shaped site, its very narrow front, the rear 180 view of the city and the sea (the site is located at top of a hill), an auditorium with 190 seats, open to the public, a smaller one with 60 desks for the staff, the use of passive ventilation in every room (except for the auditoriums) and the need to have 18 sheltered parking spots. The solution for the garage was to use the steep character of the site and locate it at the basement, accessed by a ramp, that takes you to two different underground floors, both opened at the rear of the site, creating a cross-ventilation with its access. An imposing volume, where the stairs are located, separates the pedestrian access from the vehicles access. When you get inside the building, at the entrance hall, you have a clear view of all the visitable floors, the foyer, and the vertical circulations, as they are all connected by a large atrium, which helps the passive ventilation as well. As a solution for the larger auditorium, it was placed at the ground level, descending until the basement, and on the top of it, on the second floor, is the smaller one, which is restricted to the staff. The foyer has a large window to appreciate the pleasant view and gives access to small veranda. 1514 2120191817 25242322 26 1 2 3 4 5 6 7 8 161514 201918171312119 10123451231234512 34567 12 345678 910111213161514 2120191817 25242322 26 1 2 3 4 5 6 7 8123421534567891020111213141516171819A A A AAAAAAAAAAAAASECOND UNDERGROUND FLOORGROUND FLOORSECOND FLOORFOURTH FLOORFIRST UNDERGROUND FLOORFIRST FLOORTHIRD FLOORFIFTH FLOOR1 5 15mcrea al headquartersCOMPETITION WINNERSECTION1 5 15mAll the offices, which are located at the rear of the site, also have large windows to benefit from the view. In between the stairs and the offices are the check-in desks and the restrooms. Finally, at the top floor, there is a large meeting room, the CEOs office, and a large terrace, where small cocktail parties may take place, with an astonishing view. All the offices have a cross ventilation strategy, that is only possible because there is an air duct over the corridors, which is linked to the facades grid like brise soleil. 2002 The initial idea was to create a project that involved functions related to entertainment, the idea evolved into a more profound thought, based on what we consider to be entertainment nowadays. The thought led me to conclude that in most forms of entertainment the acts involve, in one way or another, the breaking of traditional values, or we could even say that it involves committing a sin. Expenditure, lust, violence, cultured image, envy, greed, eat and drink in excess, and idleness, became somewhat common to our every day lives, no longer being condemned, but usually desired by many. So, if people leave their homes in free will, with the intent of committing a sin, without any guilt, why not do it in Hell. Place where people are supposedly sent to, after their death, and after committing such acts in life. From this conclusion, came the idea of using as my main inspiration for this project, one of the most significant epic masterpieces in history: The Divine Comedy by Dante Alighieri. The ideas for the spaces and their functions were inspired in Dante's work. The Masterpiece is divided into three sections: The Inferno (Hell), The Purgatorio (Purgatory), The Paradiso (Paradise), therefore the two last were also made a part of the project. However, there is a discrepancy between Dante's work and this project. Dante sees the two first sections as places for punishment, and penalization, and the project is based on a place that provides people with mostly pleasures, so the philosophical basis behind it, is incoherent to the program.To bring this philosophy up to date, we take in consideration the proposed philosophy by Friedrich Wilhelm Nietzsche. His philosophy explains that the nihilism applied to the absolute values, clearly demonstrates that the basis behind them were not strong enough to accompany humanity's progress. So in this case, we should look for a transvaluation of values (term used by Nietzsche, to indicate transmutation of values). In other words, we should consider new values, and open new horizons in regards to the history of humanity's experiences. Therefore, we should not condemn nor justify, but we should uncover the state of things, good, bad, true, false, virtue, etc. In the book Human, All Too Human Nietzsche states: We recognize that there are no sins in the metaphysical sense; but, in the same sense, neither are there any virtues; we recognize that this entire realm of moral ideas is in a continual state of fluctuation, that there are higher and deeper concepts of good and evil, moral and immoral. Based in this context, it was necessary to simply deconstruct The Divine Comedy, not only in its philosophical and moral context, but also in its architectural representation. As a result, The Inferno is a center of leisure and gastronomy, inspired by the Seven Capital Sins. Thus, instead of a place of eternal punishment, it is a place of pleasure, freedom, and licentiousness. There you would find Bars, Restaurants, Night Clubs (greed, idleness, envy, pride, lust, avarice), Movie Theaters, where plots that involve violence and sensuality (anger, and lust), are the most popular. The Purgatorio is inspired in the ambiguity within activities, between pleasure and punishment by the committed sins. This section includes a Spa with a Beauty Parlor, a Gym, an area for Mental and Physical Relaxation, and a couple of Small Restaurants (Sushi, and Vegetarian).Last but not least, The Paradiso, defined as the house of gods and their chosen ones, is a Hotel. However, as Nietzsche explains, we should be our own gods, and create our own values, at the same time destroying, and breaking the ones imposed upon us by society. Even though the Hotel is supposed to be The Paradiso, we should not forget that its reception is also located in The Purgatorio, for it has functions related to money (avarice) and the pleasure, or displeasure of spending it.Concluding, this projects ambition is to create an architectural/ philosophical exercise, that has as its main purpose, not only to question society about its values as they relate to entertainment, but also the spaces/ functions of facilities such as the proposed, The Divine Comedy.the divine comedyGRADUATION PROJECTBased on Dante's description and the art representation of Hell, a reinterpretation of it was made to develop the following concept. The circles that hold the sinners for eternity were broken, like in an explosion, a symbolical reaction to the restraints that societys values impose. Resulting in arcs that in a new and more linear composition, give the feeling of freedom desired by the guests of this complex. Underneath the reflection pool with the fire pathway, there are bars, restaurants, nightclubs and movie theatres. The sphere found in the very center of Hell, is partially expelled to the surface (red dome), and intersected by the arcs. Inside you would find an auditorium, foyer, and a hallway of access into the lobby of the hotel, which is located in the Purgatorio.The Purgatory, is described as cornices around a mountain, that in spiral shape make a path to the peak, where the Paradise on Earth or the Garden of Eden is found. Based on this description, evolved the idea of it functioning as spiral shaped levels, yet its sharp aspect of penitence was the inspiration behind the triangular shape. It is composed of three slab blades that fold and cross each other inverting functions, i.e., the floor becomes the roof, and the roof becomes the floor. In reality, the roof also has a circulation function, the crossing of the slabs provides vertical circulation within each other. In its highest level, is located the relaxation area of the Spa. The terrace from this area has a swimming pool on its top level and on the its lower ones are decorated with planters that humanize the large concrete areas, in reference to the feeling of peace probably felt in the Garden of Eden. When arriving in Paradise, the slabs have a double fold to them, which has two functions: To distant Paradise from the Purgatory, and to misalign the slabs, that with the 25m spans between columns have the intention of giving them a sense of lightness, similar to the clouds in the sky, an often used reference of where the Paradise is located. The last slab fold is to the opposite side of the Purgatorio spiral, breaking away from the others and giving the impression of being completely loose, it also have a glazed roof with built in louvers, so the guest can lay down in their beds and literary see the sky, which complements the uniqueness of the whole experience.STRUCTURAL SYSTEM (PARADISE)THE WORLD ACCORDING TO DANTE DANTES HELLPURGATORY(diferent levels) PARADISE(over the lake)HELL (underneath the reflectingpool with the fire pathway)TRANSITIONAL SLAB BEND, FROM PURGATORY TO PARADISEHELLS FACADE, WITH A VIEW OF THE LAKELAKE"May this be the human comedy?" Friedrich NietzschePARKING LOT20011


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