selected works

GONÇALO ASSIS LOPES

Selected Works

Curriculum Vitae

3

BIOGRAPHY

Born in Lisbon, Portugal, in 1976.

Studied architecture at Faculdade de Arquitectura da Universidade Técnica de Lisboa, graduating in 2004.

Has collaborated with Architect José Nuno Cabral Beirão between 1996 and 1998, with Architect Gonçalo Byrne between 1998

and 2000, with Atelier Bugio (Architects João Favila, Teresa Goes Ferreira and Luís Filipe Rosário) between 2000 and 2005, and

with Architect João Pedro Falcão de Campos between 2004 and 2005.

In these structures he assumed different positions that went from collaborator to project co-ordinator.

Establishes his own office in 2005.

Establishes Atelier de Alcântara together with Architect Rui Gouveia Vinagre in 2008.

Joined Consulgal in 2011 as Supervisor Architect for Construction Supervision, Design and Document Review for 3300 housing

units and service buildings in Al Zentan, Libya

His activity as an architect has approached a diversified number of areas such as facilities (hotel/commercial/learning), restoration/

rehabilitation/monuments, housing, inspection and technical support to projects in construction and design, with the continuous

goal of developing his practice as a multi-disciplined activity with various scales.

5

Go through the road that is made of yellow dirt and almost no shade. The cicadas will sing the bronze silence. First to your right will

be a whitewashed wall that draws the road’s curve. Then you will find the transparent and curled fig trees; but their branches won’t

provide any shadow. And then you will head straight with the Sun’s heavy hand on your shoulders, but led by a weightless fresh

light. Until you reach the city’s ancient crumbling walls. Pass under the door and go through the small narrow streets, straight and

white, until you find in front of the sea a bright square with a statue in its centre. Head between the houses and the sea up until the

market that is after a tall yellow wall. There you should stop and look for an instant at the square because there the visible is seen

until the end. And see the white, the pure white, the whitewash white that falls straight. And there between the city and the water

you won’t find any shadow either; so take shelter in the sea’s fresh passing breath. Enter the market and turn to your right and at

the third man you find in front of the third stone counter buy fish. The fish are blue and shiny and dark with black meshes. And the

man will ask you to see how red its gills are and how deep its blue is and how they really, really smell like the sea. Then you will

see black and red and pink and silver fish. And you will see the stone coloured octopuses and the shells, the whelks and the razor

shells. And the light will become liquid and salt air and a crab will go running over a stone table. To your right you will then see

a staircase: take it quickly but without touching the old blind man that slowly comes down. And at the top of the stairs there is a

middle aged woman with thin light wrinkles on the face. And she has on her neck a gold medal with the picture of her son that died.

Ask her to give you a handful of bay leaf, a handful of oregano, a handful of parsley and a handful of mint. Further down buy black

figs: but the figs aren’t black: but blue and pink inside and from all of them runs a tear of honey. Then go from vendor to vendor and

fill your baskets with fruits, greens, herbs, rosemary and lemons. Then go down the stair, leave the market and walk to the centre of

town. Now you will see that along the walls a blue snake shadow was born, narrow and long. Walk close to the houses. On one of

your shoulders will rest the shadow’s hand, on the other the Sun’s. Walk until you find a tall square church.

Inside you will rest kneeled in twilight looking at the white of the walls and the blue shine of the tiles. There you will listen to the

silence. There will rise like a chant your love for the visible things which is your prayer before the great invisible God.

Sophia de Melo Breyner Andresen

Morning’s way in Livro Sexto, 1962

6

Project by: Atelier de Alcântara . Arquitectos [Gonçalo Assis Lopes + Rui Gouveia Vinagre] with Pedro Pedroso

Structural Consultant: Miguel Villar [Betar]

Installations: Paulo Rodrigues [Acribia]

Role: Co-Author

CONTEXT

Situated next to an anchor public space such as Alameda Dr. José Cabral, the plot for the proposal represents a border element to a

public space system of expressive scale for the centre of Paredes. Defined by relatively steep fronts on the southwest and northeast,

the plot has only two leveled fronts on the northwest and southeast, a fact that has decisively contributed to the project’s definition.

Within the quarter, although with a regular shape, exists a private building which inevitably assigns a scale that the proposal has to

deal with regardless of the extensive program it has to answer.

INTERVENTION PHILOSOPHY

The proposal consists on five key elements: Cooperative’s Services, Earth Market, Design Incubator, Creative Residencies, Res-

taurant/Café Area and Car Parking that supports not only all the building but also functions as a public car parking silo. Taking into

account the program, the topography as well as the surrounding context, the proposal is defined by three distinct elements.

The first building serves as a concrete podium which occupies the totality of the plot and becomes an elevated public square on its

roof, establishing a clear relationship with the surrounding tree tops as well as the Alameda Dr. José Cabral public space. This is

the building that manages all accesses and houses the programs related to the Cooperative’s Services, Earth Market and parking

facilities, since their functioning depends on a deep and close physical proximity and effective communication. It also establishes

a direct relationship with the street and promotes the public character and nature this proposal has, simultaneously managing the

access to the other proposal’s elements as well as “sowing” the volume and scale set by the adjacent private building. The second

building houses the Restaurant/Café, resting over the square generated by the Podium Building and acts as a front to the Infante D.

Henrique Street while the third building contains the Creative Residencies and the Design Incubator.

The Restaurant/Café and Creative Residencies/Design Incubator buildings function in contrast to the Podium Building’s solid ap-

pearance, with apparent nervorated concrete slabs and pillars enclosed by transparent elements and lined from the outside by white

micro-perforated steel sheets that serve as mediator element between the exterior and the interior worlds on both buildings, as a

translucent veil that covers their apparent constructive and structural honesty.

1.PAREDES COOPERATIVE COMPETITION

8 PAREDES COOPERATIVE COMPETITION

14

THEME

The main goal for the current competition was to design a single family dwelling that is radically cheap to build for Luanda aimed at

severely deprived families and capable of generating urban fabric.

Such a program shouldn’t instantaneously lead to an idea of lesser quality but rather a need to find a way of rationally building a

platform of wellbeing with the available resources. This also implies not only a physical architectural solution but also one that tries

to understand its social, cultural and economical dimensions for it to have some kind of positive result.

PROPOSAL’S PRINCIPLES

Flexibility and dialog between dwelling and urban fabric

First and foremost it has been understood that dwellings of this nature in Luanda have a dimension that surpasses the single function

of sheltering a family. It has a far richer set of variables that include physical space as a currency or a very important role in sociali-

sation. Therefore, flexibility of use is a precious asset as well as the capacity of the proposed dwelling unit to produce and stimulate

productive relationships with the far wider urban fabric, be it economical, social or cultural.

Economical stimulation, self-construction and sustainability

Instead of considering the economical restraints of the competition program as a barrier we choose to use it as a vehicle to stimulate

Luanda’s economy through the use of its own raw materials (such as the extensive use of Adobe and Lime), avoiding any kind of

imported materials that could greatly increase construction costs.

Our proposal is thought out to encourage self-construction, developing the use of simple known and common construction tech-

niques with building materials that have practically no production costs, are environmentally friendly and provide proven habitability

and comfort. It also has another advantage to this process as it is a way of giving specific training to people who can profit from this

fact in the future.

Creating urban fabric through a dwelling unit

The proposed dwelling unit can automatically create two hierarchies that could extend to the urban fabric. The East-West axis gen-

erated by the blocks become public galleries offered by each house as mediator spaces between what is private and what is public,

stimulating economical and social interaction, where a single cell of a house can become a shop, a shaded space or a place to just

simply be and the car traffic less intense. The South-North axis can have two different configurations: one narrower to easily cross

through blocks and one wider to provide a heavier traffic solution in order to link to main arteries.

Phased construction

Although the competition regulation specifies a gross building area of 100 m2 we believe that such a proposal should foresee a

2.A HOUSE IN LUANDA COMPETITION

15

Project by: Atelier de Alcântara . Arquitectos [Gonçalo Assis Lopes + Rui Gouveia Vinagre] with Pedro Pedroso + Ricardo Alves

Structural Consultant: Miguel Villar [Betar]

Role: Co-Author

phased construction of the dwelling units so that it could accommodate a progressive solution to multiple situations. Although the

proposal as presented has the stipulated 100 m2 it has the possibility of beginning at 50 m2 and expand up to 150 m2 of gross

building area. It is our belief that by providing this kind of possibilities the more probability it has to answer to the multiple needs of

an ever growing fabric of a metropolis such as Luanda.

THE DWELLING UNIT

Given a lot of 10x25m, our proposal is structured by five different programatic transverse strips generated by two pavilions (Social

Pavilion and Private Pavilion), a patio between the two pavilions and two wings (Urban Wing and Ventilation Wing) at each top. The

lot is structured by modular cells dimensioned for an optimal span for an adobe construction and by this fact it is easy for it to be

phased and controlled as an evolving organism without losing its unity.

Fronting the lot the Urban Wing, a shaded gallery, promotes the relationship between the private realm and the public urban reality.

It is where all kinds of social interactions could take place: a commercial stand, an entrance to a shopping cell, to a house or just

a place in the shade where you can be.

The Social Pavilion gathers two multipurpose cell that could be a living room, room or shop and the services (a kitchen and the

bathroom).

The patio becomes the functioning heart of the house by assuming its central position in the lot. It’s not just a circulation space but

one that promotes gathering (a social space) or even self sustainability (such as the possibility of having, for example, a vegetable

garden), also allowing cross ventilation and light for both pavilions. The patio also allows the construction of a future third pavilion

based on its structural modulation so that further uses can be attributed to the house.

The Private Pavilion is made of three cells which can be divided or make up a full open space so that a room can also become a

living and social space.

At the back top of the lot a ventilation wing is created so that cross ventilation and generous lighting can come from both sides of

the Private Pavilion.

16 A HOUSE IN LUANDA COMPETITION

19

URBAN WING - 15,0m2Possible Commercial Use

VENTILATION WING -15,0m2

Light and air

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22

Project by: Atelier de Alcântara . Arquitectos [Gonçalo Assis Lopes + Rui Gouveia Vinagre] with Sílvia Prudêncio

Photography: Nuno Sousa Monteiro and João Abrantes

Role: Co-Author

CONTEXT

Being part of Lisbon’s Architecture Triennale in 2010, the exhibition design competition for the Electricity Museum (formerly named

Central Tejo) bears the particularity of being located in a building of significant importance in Lisbon’s 20th century history, being

somewhat a testament to technological and energetic evolution which makes it an important object in portuguese industrial history.

The fact that the proposal is located in the old low pressure boiler room ended up dictating the proposal’s philosophy. This room

was originally modulated bearing in mind the specific boilers it would house, resulting in a regular island grid (boilers) limited by a

structural metallic set around the machines. The machine dictated the structural grid.

PROPOSAL

Three modular illuminated vitreous blocks serve as support for the exhibitions’ information. A first one, standing and framed by the

existing structure and situated at the entrance’s axis, contains the common information to the two running exhibitions. The other two,

lying down, precede each of the exhibitions. The Merchandizing cell, as an object, is framed by the information blocks.

Given the identical material and number of works to be exhibited, each one of the exhibitions is supported by a black MDF monolith

whose location is established by the rules set by the existing steel structure, much in the same way the boilers that once occupied

the same space. Each black monolith integrates a set of internally lighted cells that match the number of works to be exhibited, being

that each one has its own space even if they are a part of a set. The dimensioning of each cell takes into account the location of

physical models on its base and information panels on the back wall, as well as the necessary space for the identification of each

presented work.

Both monolithic elements rest over a black MDF plateau covered in black linoleum with a text line referring to their exhibition and

identifying the participant of each competition, thus defining their limit and reenforcing the direction of each exhibition path.

Through this modular construction, as well as the nature of the materials used, the proposal aims at low construction costs and

acknowledge the industrial character with an ever increasing pre-sence in our day to day lives, having the actual Electricity Museum

Building as one of the most representative elements in its origin in this city.

3.EXHIBITION DESIGN COMPETITION FOR THE ELECTRICITY MUSEUM

23

1.1

1.2

1.4

Planta geral1 - Foyer 1.1 - Entrada 1.2 - Zona de introdução 1.3 - Prefácios aos espaços expositivos 1.4 - Célula de merchandising 2 - Espaços expositivos 2.1 - Bloco expositivo A 2.2 - Bloco expositivo B

2.1

2.2 1.3

1.3

24 EXHIBITION DESIGN COMPETITION FOR THE ELECTRICITY MUSEUM

26 EXHIBITION DESIGN COMPETITION FOR THE ELECTRICITY MUSEUM

28

Project by: Atelier de Alcântara . Arquitectos [Gonçalo Assis Lopes + Rui Gouveia Vinagre]

Role: Co-Author

Located in the Alvalade neighborhood, a challenge was set to remodel an apartment with a strict low budget. The program consisted

on the transformation of a 70m2 apartment made up by minimal compartments into a space for a single person with the possibility

of becoming a first house for a couple.

Given the available budget and the advanced state of degradation of the walls and ceiling, as well as the fact of it being the top floor

without any kind of thermal insulation, the proposal consisted in minimal demolition works as to gain a bigger living room, new windows,

kitchen and bathroom, while restoring all wall and ceiling surfaces and ensuring an effective thermal insulation through the ceiling.

The heart of the house is made by a permeable wall paneling grouping all the house’s accesses, becoming a set of bookshelves in

the living room and a storage cabinet as a mediator element between public and private space allowing to create a private circulation

without compromising the already small areas.

4.J.A. APARTMENT

30 J.A. APARTMENT

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31

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32 J.A. APARTMENT

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ALÇADO INTERIOR C/ PORTADAS ALÇADO INTERIOR S/ PORTADAS CORTE ALÇADO EXTERIOR

33

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CORTE DE PORMENOR

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ALÇADO INTERIOR C/ PORTADAS ALÇADO INTERIOR S/ PORTADAS CORTE ALÇADO EXTERIOR

34

Project by: Own Office

Structural Consultant: Filipe Feio [FTD]

Installations: Fernando Fonseca [Energia Técnica]

Photography: António Nascimento

Role: Author

The proposal consisted in the conversion of a summer row house into one that had the capacity to be inhabited all year round.

The demolition of the preexistent house was dictated not only by the degraded state due to poor construction quality, making it

unable to face the region’s characteristic climate, but also by the succession of spaces without any kind of logical structure or ap-

propriate scale as well as the will to add additional area the former construction couldn’t handle.

Since the intervention was in a single row house unit, the housing set’s common elements were used to solve the volume and open-

ings as to make the proposal as silent as possible.

The proposal kept the existing structure made by frontal garden, house with full plot’s width and back garden. Both fronts were

extended and, instead of the preexistent multiple roof planes, the highest roof ridge was extended resulting in just two roof planes

as well as doubling the first floor’s area.

The house was organized through three functional strips that correspond at ground level to services, common areas and private

areas. However, these relationships can be altered as they’re separated through two big sliding doors that allow multiple relations

between the strips, from cells to open space. On the upper level, with the ability to function autonomously and structured by the

house’s functional strips, are situated two rooms, a small living room/study and a bathroom.

The proposed materials characterize the functions they serve. Painted or waxed wood floors give temperature to living and private

spaces, white marble and handmade tiles for service and wet spaces.

Systematically resorting to handmade work regarding woodworks, stoneworks and metalworks was probably the project’s greatest

challenge. But there was still space for good surprises...

5.A.L. HOUSE

36 A.L. HOUSE

38 A.L. HOUSE

40 A.L. HOUSE

42 A.L. HOUSE

44 A.L. HOUSE

46

Project by: Atelier Bugio [João Favila]

Photography: Leonardo Finotti

Role: Chief Architect for Detailed Design [Execution Project]

Built in its first version during the 50’s, the Porto Santo Hotel extends perpendicularly towards the beach as a contained volume, not

exceeding two storeys as to accentuate the surrounding context and its green areas.

The part of the building where the extension takes place, as well as the area where the original Hotel is located, has an orientation

towards the South with a gentle topography.

This plot portion, once of agricultural nature, presented a certain aridity due to a strong south exposure, its proximity to the sea and

the sand nature of the soil. The extension project is located in a plot strip situated at the eastern side of the preexistent hotel, with

the main goal of equipping the hotel of a better infrastructure regarding sun and sand thalassotherapy while articulating it with the

existent hotel structure.

The proposal’s landscape integration was achieved through matter and volume. Its skin is made by sand and lime mortar, covering

simple volumes in memory of Porto Santo Island’s popular and vernacular constructions.

Integrating itself within the philosophy/atmosphere of the preexistent hotel, the proposal develops through an outer wall as protec-

tion and limit to the palm plantation, accentuating the hotel’s green area oasis character. The new building is structured through a

succession of patios and gardens that generate inward spaces that enhance its silent and serene character.

All built areas are developed through one walled storey as if it were a single volume. Inside exists a thalassotherapy unit with four

distinct areas comprising Car Parking, Bungalows/Gardens, SPA and Outer Pool.

A lot of effort was put into maintaining this place’s natural, historical and built character, creating a close relationship with the pre-

existent elements as well as complementing its hotel capacities. The proposal is intended to have a discrete and friendly presence,

a vernacular architecture where a modern concept doesn’t collide with ancestral building knowledge.

by João Favila

6.PORTO SANTO HOTEL EXTENSION

48 PORTO SANTO HOTEL EXTENSION

50 PORTO SANTO HOTEL EXTENSION

52

Project by: Atelier Bugio [João Favila]

Photography: Leonardo Finotti

Role: Collaborator during Detailed Design [Execution Project]

The intervention philosophy kept the main principles adopted through the initial project where special attention was given to the

preservation of consolidated green areas and large sized trees, the conservation of the farm’s main old dwelling as a way to preserve

its intimate character and close relationship with the surrounding area.

The extension is made up by two volumes. The first volume is a building structured in two floors where the ground floor has five

rooms and a suite, as well as a reading room, and the first floor houses seven rooms and a suite.

Through the ground floor is articulated its connection to the preexistent building through a funnel shaped arm, while the new body

sets a new frame to the garden area.

The rooms in this new body have more generous areas and benefit from an even more intimate garden. On the first floor a wide living

room provides a relaxing area and attached to the main body two volumes house the public toilets and floor pantry.

The second volume is a supporting facility to the swimming pool, with a bar, terrace and services.

by João Favila

7.QUINTA DA CASA BRANCA EXTENSION

54

Project by: Gonçalo Byrne

Photography: Rui Morais de Sousa

Role: Collaborator during Competition

It’s as desperating as it is fascinating to see two thousand years of history before the eyes condensed in an urban/architectonic set

to which we are called to intervene.

The dive into time (what is architecture if not the impression in time of the built artifice) is obsessive and eager to find the seam of

successive transformations and reasons which led them to be produced.

The architect absolutely needs history because he steps into preexistent territories, but mainly because the project leads the trans-

formation that leaves by and in time.

The direct verification of time objectified through the successive layers brings close the archeologist to the architect to the point

they almost can be confused.

The mastering of the concrete, of things, brings them closer. Aren’t things built nowadays by us just another layer in the several

preceding contemporaneities? What values, sensibilities or uses are there going to be imprinted?

During two millenniums site’s history accumulates the crossing of many histories and an archeological site shows us not only one but

several buildings that extended or overlapped or crossed, destroying or fragmenting themselves, generating residues, hesitations,

firmness, abuse, rudeness or fantastic revelations, fascinating, beautiful.

After the path we’ve taken through the historic readings summoned by archeological reports, through the architectures we crossed

from dawn till dusk, if something appears as touchingly beautiful in this uptown Coimbra, it’s the extraordinary symbiosis between

built shapes and the hill’s geography, where tectonics acquire a topographic value, in a global crystalline system made of voids and

emergencies in which the Aeminium cryptoporticum’s immanence is decisively in its origin.

by Gonçalo Byrne

8.MACHADO DE CASTRO N. MUSEM COMPETITION

56

Project by: Gonçalo Byrne

Photography: Rui Morais de Sousa

Role: Collaborator for the Detailed Design Review and Technical Assistance

The Aveiro University Central Building spacialy and functionally represents the construction conclusion of the University Campus.

The “Rectory House’s” and “Aula Magna’s” strong programatic contents in its institutional values, and the place, simultaneously at

the centre and axis of the University Campus, provide this intervention of a referential character that’s important to respect.

This complex space, as complex and complementary are the activities from the University Community it will house must symbolize

the presence of the University’s “Casa Mater”. It internally articulates as a “microcosmos” the diversity of competencies and activ-

ities, however, having a common direction and complementary logic that must be apparent in the building and its diverse spaces.

A “Casa Mater” that contains several houses or perfectly identifiable spaces within the building, that represents in contemporaneity

what was once, in example, the convent typology. We are clearly before a mixed situation that reflected the typological choice, her-

self also being of a mixed character, crossing an elongated block typology with a closed square one which will allow with a clear,

continuous and simple distributive scheme to articulate a set of spaces with different characters.

The serving spaces (monumental atrium, “impluvium” atrium, street, corridors and galleries, or even the Rectorate’s elevated garden)

are understood in continuity of the exterior spaces, bringing into the building the same urban sense of internalized “micro-city”,

where the diversity of atmospheres has a fundamental role.

by Gonçalo Byrne

9.AVEIRO UNIVERSITY RECTORATE

58



Produced by: Filipe de Sousa

Structure: Afizélia Wood

Finishing: Shellac

Dims: 1580 x 2080 x 260mm

10.BANZÃO BED

60 BANZÃO BED

62 BANZÃO BED

64



Produced by: Filipe de Sousa

Structure: Afizélia Wood

Finishing: Shellac

Dims: 1966 x 682 x 600mm

11.SOFA 3X

66 SOFA 3X

68 SOFA 3X

70

PROJECTS

AS CO-PARTNER

2008 - 2011

Atelier de Alcântara . Arquitectos

(Gonçalo Assis Lopes and Rui Gouveia Vinagre)

2010

Paredes Cooperative Competition - 8th PLACE in 40 PRO-

POSALS

2010

A House in Luanda Competition:

Patio and Pavilion for Trienal de Arquitectura de Lisboa -

PRE-SELECTION

2010

Exhibit Design Competition for Trienal de Arquitectura de

Lisboa in the Electricity Museum - 3rd PLACE

2009

Beach support equipment

2008

João Abrantes apartment remodelling, Lisbon

PROJECTS

SOLO PROJECTS

2000 - 2010

Own Office

2007

Program for a Business School in Yichang, China

2007

Apartment refurbishment in Outeiro, Oeiras

2006

Layout for the Stockmarket fair, Loulé

Layout for the Stockmarket fair, Porto

Layout for the Stockmarket fair, Leiria

Layout for the Stockmarket fair, Lisbon

2001

Margarida Castro Neves house, Oeiras

2000 - 2008

Assis Lopes house, Sintra

2000

Miguel Crespo house, Lisbon

PROJECTS

IN COLLABORATION

2004 – 2005

Architect João Pedro Falcão de Campos

2004 - 2005

Manuel Byrne house, Lisbon

2000 – 2005

Atelier Bugio

(Architects João Favila, Teresa Goes Ferreira e Luís Filipe

Rosário)

2005

3 housing buildings, Estoril

2004

António Calisto house, Pavia

2003 - 2004

Expansion of Porto Santo Hotel, Porto Santo

2003

Public competition for the rehabilitation of Santa Maria Fort

and Lighthouse, Cascais

João Andrade house, Funchal

Quinta da Alegria Hotel, Funchal

2002

Pedro Tavares house, Funchal

Quinta da Casa Branca Hotel (2ª phase), Funchal

2001

Milles house, Funchal

Restaurants and support facilities in Praia do Carvalhal,

Comporta

2000 - 2004

Conversion of apartment into a lawyer’s office, Lisbon

CURRICULUM VITAE

71

2000

Rua do Carmo building, Funchal

1998 – 2000

Architect Gonçalo Byrne, GB Arquitectos

1999

Public competition for the remodelling and expansion of

Machado de Castro National Museum, Coimbra - 1st PRIZE

1999

Public competition for the Tecnicrédito head office building,

Lisbon - 1st PRIZE

1998 - 2000

Project revision and technical assistance to the construction

of the Aveiro University Rectorate, Aveiro

1998

New wing for Quinta das Lágrimas Hotel, Coimbra

1996 - 1998

Architect José Nuno Beirão

1998

Violeta ll shoe store, Lisbon

Andrew’s Ties store, Lisbon

1997

Ratinho shoe store, Lisbon

Violeta shoe store, Lisbon

1996

Helius shoe store, Braga

Bandarra lll shoe store, Lisbon

Bessone Basto house, Alenquer

Public contest for municipal library, Chamusca

TECH. ASSISTANCE | SUPERVISION | INSPECTION

AS CO-PARTNER

2008 - 2011



2010

Inspection report on the conservation state of a building

situated in Praça Duque de Saldanha, Lisbon


SOLO PROJECTS

2000 - 2010

Own Office

2008 - 2010

Technical Assistance and Construction Supervision of A.L.

house in Banzão, Sintra

2006 - 2007

Technical Assistance and Construction Supervision for an

apartment refurbishment in Arco do Cego, Lisbon (Project by

Architect Pedro Castro Neves)

2005

Technical Assistance and Construction Supervision for the

roofing

of a building in Arco do Cego, Lisbon (Project by Architect

Pedro Castro Neves)


IN COLLABORATION

2011 – Present day

Consulgal

2011 - Ongoing

Construction Supervision, Design and Document review as

Supervisor Architect for 3300 housing units and Service

Buildings in Al Zentan, Libya

72 CURRICULUM VITAE

2004 – 2005

Architect João Pedro Falcão de Campos

2005

Technical Assistance and Construction Supervision of M.B.

house, Lisbon

2000 – 2005

Atelier Bugio


Rosário)

2003 - 2005


conversion of an apartment into a lawyer’s office, Lisbon

1998 – 2000

Architect Gonçalo Byrne, GB Arquitectos

1998 - 2000

Technical Assistance to the construction of the Aveiro Univer-

sity Rectorate Building, Aveiro

1996 - 1998

Architect José Nuno Beirão

1998


construction of Violeta ll Shoe Store, Lisbon

1998


construction of Andrew’s Ties Store, Lisbon

1997


construction of Ratinho Shoe Store, Lisbon

1997


construction of Violeta Shoe Store, Lisbon

1996


construction of Bandarra Shoe Store lll, Lisbon

1996


construction of B.B. house, Alenquer

DESIGN

AS CO-PARTNER

2008 - 2011



2010

Pharmacy reception desk modules

2009

Alcântara table

DESIGN

SOLO PROJECTS

2000 - 2010

Own Office

2007

Banzão bed

Banzão drawer unit

2007

Sofa 3x

Sofa 1x

2005

Drawer unit

2005

Sideboard

Library/working desk stand

2003

70x70 bed

73

DESIGN

IN COLLABORATION

2000 – 2005

Atelier Bugio


Rosário)

2004

Furniture design for a lawyer’s office consisting on reception

desk, working desks, conference tables and sideboards

2004

Furniture design for the expansion on Porto Santo Hotel con-

sisting of tables, closets, benches, reception desks, exhibition

stands and lockers.

2004

Furniture design for António Calisto house consisting on

free-standing closets, working desks and sideboards

AD. TRAINING

UNIVERSITY OF CAMBRIDGE ESOL EXAMINATIONS

Certificate of Proficiency in English (CPE)

COMPUTER SKILLS

MAC OS X, Windows, iWork (Pages, Numbers, Keynote),

Microsoft Office (Word, Excel, Powerpoint, Project), Archicad

(BIM), Autocad, Photoshop, InDesign, Dreamweaver

LANGUAGES

Portuguese

Fluent (first language)

English

Fluent (CPE by University of Cambridge)

Spanish

Average

French

Basic

REFERENCE LETTERS

74

76 REFERENCE LETTERS

79

GONÇALO ASSIS LOPES

ADDRESS

Av. Patrão Joaquim Lopes n.º 12, r/c esq

1770-134 Paço de Arcos

Portugal

PHONE

+(351) 93 243 51 75

EMAIL

[email protected]

SKYPE

goncalo.assis.lopes

selected works

Documents

supervisor architect

architect gonalo byrne

architect joo pedro

handful of oregano

handful of parsley

handful of mint

whitewash white

architect rui gouveia