antónio brigas portfolio

António Brigasportfolio

Work experience10/2013 until today: Architecture internship and Architect. Conception, building approval and prac-tical completion of various architecture projects, at Ressano Garcia Arquitectos

2013 until today: Graphic design. Co-edition of graphic material, for iwinPRESS;

2011-2013: Renovation of an 90 m2 apartment. Interior design, drawing and execution of furniture, drawing and execution of electric systems, piping, insulation and pavements, for Amadeu Brigas;

Personal Information

Name: António Brigas;

Age: 25, 1988;

Nationality: Portuguese;

Address: Rua Luís de Camões, Lote 27, 3º D, Faro, Portugal;

Email: [email protected]

Education2011-2012 Master Architecture, ERASMUS exchange program- average 1.5 (A); Hafen City Universität, Hamburg, Germany;

2007-2012 Master Architecture; Universidade do Minho, Guimarâes, Portugal;

04/2014 Low Cost Rehabilitation in Small Sized Buildings; Ordem dos Arquitectos Secção Regional Sul, Lisboa, Portugal;

Skills

Languages Portuguese (native speaker);

English (fluent), German (A2.2 certificate),

Spanish (oral fluency);

Software:Adobe InDesign (+2year), Photoshop(+6years), Illustrator(+2years), Autodesk AutoCAD(+6years), Revit(+3years), Rhinoceros, Google Sketch up;

Microsoft Office and OS, Mac OS.

Awards and competitionsInternational Competition of Ideas, 2013 Funda-ción Eduardo Torroja, La vivienda del futuro (house of the future);

Final stage, Zukunft Whonen (Living in the future), IBA Hamburg, Alemanha 2012;

Final stage, Teatro de rua, CCVF, Guimarães 2010;

Schindler Award, Olympic park design, Berlin 2010;

GoArchitecture, Porto 2009;

Honour certificate, (high school), Faro 2005;

Winner and world representative for Portugal, Jour-né Moundiale Poesie Enface, 1995;

Interests: Drawing body and space, thinking and writing critically about architecture, design and construction of furniture, graphic novels, cinema, piano and jiujitso brasileiro;

In this portfolio I present a selection of my academic work. I hope you can see some passion and dedication in the following drawings and that some of the forms, atmospheres and questions inte-rest you.

Besides the work here shown, the portfolio refers to a work process that was transversal to the projects here pre-sented, even if sometimes unconsciously. This process has to do with the questions that lead to the project, become project themes and destroy initial preconcep-tions.

Using this as a narrative, I formulate the questions that accompanied the projects and which I felt had an influence into the final result, even if they don’t have a concrete answer. In this way there is a parallel narrative to the projects that tries to make the whole bigger than the part, correlating them.

TAL VEIGATALVEGUE, LANDSCAPEGuimarães, Portugal

ZENTRAL UND LANDS BIBILIOTHEKBerlin, Tempelhof

FRANKENSTEIN HOUSEUTOPIA

FRANKENSTEIN HOUSEUTOPIA

STREET THEATRECONSTRUCTION/DETAILGuimarães, Portugal

DRAWING NUDE AND SPACE

Should Tempelhof Airport be urbanized?

STATE SCALE

URBAN SCALE

Tempelhofairport:

GLOBAL SCALE

newZOB

The void in scale that is an airport has to find a scale and a use in the city. GLOBAL to LOCAL

Tiergarten

The library lifts itself giving way to the free skyline that is Templehofer Park.

The pregnancy of the library and its form rejects the urbanization the park and affirms 400 km2 of an emptiness that’s not of life or function. The libra-ry as “the last truly public program” (Koolhaas) participates in the pro-gressive opening and connection on the various scales of a park affirming it as public. Covering Tempelhofer Park, the ground of the park becomes the centre of the library where park and library usages are made indistin-guishable.

The building placement aims to ca-talyze new local, urban and global connections for Tempelhof: make the already planned opening of a metro station/Zob (bus terminal) inevitable; solidify a relationship with New Köln, a dense and problematic area of Ber-lin; create a local connection through pre-existing sport facilities and path-ways.

A self supporting skin that regulates light, hides 65.000 m2 of a complex program that organizes itself around a

dark block. This block stores 4,5 mi-llion books in a spiral and also gives form to the main library entrance.

The 2000 daily visitors can also enter directly through the reading rooms in Tempelhof that are structural blocks of concrete and glass. Solving access and distribution, they go through 3 levels of books and silence to support the building’s permeable skin. These blocks correspond to the overlapping of discrete study areas joining their discussion rooms, informal reading and group work rooms. Furthermore, they serve as light shafts illuminating all functions related to output and noise. Contrastingly, Input areas have a controlled light and are surrounded in silence that protects exposed books and study areas.

STATE SCALE

URBAN SCALE

Tempelhofairport:

GLOBAL SCALE

newZOB

Berlin plan, superimposed with inhabitant density

Opening Tempelhof’s the old freight train line or a bus system connects the emergent functions and events of the park.

Zentral und

Lands BibliothekBerlin, Tempelhoff

The void in scale that is an airport has to find a scale and a use in the city. GLOBAL to LOCAL

All books are organized in the metric cataloguing system.

A continuous ramp of enclosed books ena-bles an always relati-ve and growing book organization.

In the intersection of knowledge areas, there are voids (in red) that mark discussion, noise and interdiscipli-narity.

These voids are struc-tural and alternative direct entrances.

The knowledge areas are continuous with each other, stimulating interdisciplinary use and search.A mixing chamber is the confluence and redirection point. Re-ference to Seattle Li-brary, by OMA.

Exposed books direc-tly relate to enclosed books in a fluid balan-ce. They are all spa-tially catalogued in the continuos metric sys-tem.

BOOK PATH

How should a library reflect the change in the INPUT and OUTPUT of INFOMARTION ?

DISCUSSION PATH

How should a library reflect the change in the INPUT and OUTPUT of INFOMARTION ?

DISCUSSION PATH

Floorplan

View from ground level

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View from reading room-ground level

Silence

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NOISE and Discussion belong in Libraries?

Section E’

The Frankenstein´s HouseA self-portrait of living

“The potentialities of thinking architecture from its images assumed as a purpose on themselves, this is as me-ans to an end and as an end in itself, radicalize a posture that distances itself from the almost unquestionable need to formalize architecture.”

Pedro Bandeira

The exercise was a process of individualization and subjec-tivation of the ideal of inhabiting. A self-portrait house not thought from the whole towards the part but gathering and confronting its fragmentary and contradictory parts, the living verbs. Each week a new verb was introduced (the parts) and with it a subjective and intimate question as “what is your ideal place for washing?”. The question was formulated through an image, more as a provocation of an idea of space then as an illustration of a given formalization. With the surprise that in the end ideal doesn’t necessary mean utopia and that you can reach it through the atmosphere and design, the dissimi-lar verbs of living were materialized in a functional whole, the Frankenstein house.

The exercise baffled me with the introduction of the first person in my architectonic discourse and pointed directions towards looking at the house and architecture with an almost pheno-menological subjectivity.

The project assembles the verbs, idealizations of inhabiting, by suspending them in an undifferentiated grid of 2.40 per 2.40 meters.

Between a cliff that could be from an island in Capri and a pulsating city, the house moves between two antitheses tur-ning verbs where she wants, with caprice. The whole house is pierced by the structure grid, by a labyrinth that touches the street and extends itself to the room above, articulating and multiplying relationships of privacy, access and proximity. An hydraulic elevator that is a space of its own (2 per 2 meters), subverts the logics of the labyrinth by puncturing through it.

Exploded model: north facade

If each of us is many can our house be many too?

Hospedar “escrever é um acto de solidão”“O escritor é um Homem entre os Homens”

António Lobo Antunes

António Brigas

Verbs

Can the ideal house be the one we live in? Why can dysfunctional spaces be perceived as ideal? What is the role of “habit” in formulating what is ideal? Can reality, in its complexity, be ideal? Here, I present my bathroom,

the space to excrete. I would change nothing.

A place for you, António Lobo Antunes. So you can feel lonely. Not a loneliness of despair or sadness, but a known loneliness,

almost a comfortable one, perhaps the solitude of writing. So

you can be a Men amongst Man, seeing them, following them, almost touching them, but deaf to what they say, to the sound of their steps and their voices. It is just glass separating you, but your breath, the soft creak of the wooden floor, the tinkle of your cup of coffee deafens everything else. They go by without seeing you. You are one more contemplating humanity, unnoticed, in what could be any other coffee shop, in any other street in any other city. Can we be happy so?

“In the wildest and most dramatic part of Capri (...) where the islan-dloses its human qualities and turns wrathful, where nature reveals itself with cruel strength (...). No other place in Italy has such a broad horizon” Curzio Malaparte

I sleep in a bed that is big again, as when I was a child. The whole floor is a big bed where I can sleep, move and wake up in a different side then the one I felt asleep in. The room up there is a skin too sensible to what happens in the outside, and the bed is a room inside a room, where underneath all the blankets there is a feeling of pro-tection and rest.

Remembering the sunny afternoons spent in this lively courtyard balcony in Guimarães, I couldn’t picture a

better space to wait and escape the functionalization of life.

To plant um labyrinth that grows upwards through the house. A labyrinth where I can loose myself. Loose myself in my own house. Step back from the house whilst in it and find it (and myself) in a different way. Loose myself by multiplying pathways, have dark places that I don’t control and where I don’t always want to go to in the domestic space. Going through the labyrinth in a minute or in an hour, it can be purely functional or recreational and disconcerting. It brings back to the house the representation of the shadow, of the primitive, and of the minotaur that is (lost) in all of us.Minotaur Labyrinth

Folorence, XVI century

Can the ideal house be the one we live in? Why can dysfunctional spaces be perceived as ideal? What is the role of “habit” in formulating what is ideal? Can reality, in its complexity, be ideal? Here, I present my bathroom,

the space to excrete. I would change nothing.

To plant um labyrinth that grows upwards through the house. A labyrinth where I can loose myself. Loose myself in my own house. Step back from the house whilst in it and find it (and myself) in a different way. Loose myself by multiplying pathways, have dark places that I don’t control and where I don’t always want to go to in the domestic space. Going through the labyrinth in a minute or in an hour, it can be purely functional or recreational and disconcerting. It brings back to the house the representation of the shadow, of the primitive, and of the minotaur that is (lost) in all of us.

“The role that bathing plays within a cul-ture reveals the culture´s attitude toward human relaxation.”*

One is reborn in bathing. This rege-neration implies change. You enter and exit in a different way, changed. Going back in the history of regeneration* the Sauna and frigidarium are retrievals of bathing in the domestic space. The sau-na as a time for pausing before bathing, the frigidarium as a cold dive after a hot bath. While diving, time and environment alter themselves, completing the cycle. All bathing is connected with the rough-ness and touch of stone, in a space full of vapors and shadows where one gropes his way through, engulfed in warm water with closed eyes.

Northern Syria,“eastern regeneration types”in *The mechanization of the bath,Mechanization Takes Command, 1975, Si-gfried Gidion

I see the act of criating as a continuous process, one of many spaces, transitions and mutable relations between the information trying to be conscious and subjective.

The space for creating is composed by 3 diffe-rent moments. One is a space to accumulate references in moving shelves, in order to be able to change proximity relations between objects. Another moment is an overhanging space looking over the previous references, controlling and crossing them. An industrial elevator which holds a desk connects all mo-ments as well as the rest of the house and completes the space.

What if dialoguing happened in an isotropic space, that fosters objects, means, excuses and dialogues? They could be piled up, one at a time, in a palimpsest of memories of conversations and confrontations, held on a space that suspends dialogues in the air, as in a chess game that waits for the next play.

With a high ceiling and distant windows, it gains an interior qua-lity, as the Silver Factory (Andy Warhol, 1933), of making different objects stand out and at the same time wrapping them as a whole, thick but closely knit . Alcohol on top of books, a scooter leaning on to a piano, Velázquez competing with a television. They change space by confronting and recording dialogues.

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Exploded model: Southeast view

How can architecture invoke the “difficult unity of inclusion rather then the easy unit of exclusion”? (Venturi)

Agriculture Reserve of Veiga de Creixomil

Talvegue, Tal Veiga.

Small agricultureparcels

Structuringthalweg

Ribeira deCouros

Veiga: Synthesis plan

An intervention for a specific way of loonking

In the Valley of Ave, along 52 acres spreads a pa-tchwork quilt, the agriculture reserve of Veiga de Crei-xomil at the doors of Guimarães, Portugal. The Val-ley of Ave, which fosters the city of Guimarães, is a continuous and disperse urban sprawl, where houses, fields, factories and highway intersections mix without prejudice abolishing defined limits.

From a critical analysis of the substrates of this terri-tory, we have interpreted a set of successive superimpo-sitions to the hydrographic and agriculture substrates, the essence of Veiga: a floodable, cultivated and fertile plain. Highways, housing and big infrastructures were juxtaposed and have enriched Veiga but also defined its limits making it a “recognizable slice of land”, a floodable island with doors. These substrates in their superimposition and interconnection constitute the contemporary identity of Veiga, running away from its patrimonialization and death as a changing urban ter-ritory.

We propose a specific way of looking at the landscape through water lines and thalwegs, that can be a string that stitches conceptually the landscape without segre-gating or stabilizing its eminent change. We found in thalwegs the landscape units that build a different way to look. The thalweg treatment is the anchor for an in-tervention that stitches the various layers (present and future) to the hydrographic and agriculture network.

Beyond our intervention, we were interested in a modus operandi, one that embodies the subjectivity inherent to choosing the thalwegs to work with and that absor-bs future interventions. Therefore, thalweg treatment is done by removing piping and exposing the water (to reduce flooding), planting Carpin Vetiver or vineyards (to consolidate and reduce erosion) and creating small

waterfalls and drainage basins (to control sediments and water pollution). Wood stakes further solidify the margins and can be associated to elevated pathways.

Going through and observing these landscape units, we induce a way of looking which is transversal to Veiga and that expands it and makes its limits sub-jective. Through this specific look, the observer takes once again part of the conceptions and construction of landscape, diminishing “frames” and limits. This will broaden the relationship between individual and landscape (Cosgrove).

- Housing;- Main road (national)-Shopping Guima-rães;-Big commercial equi-pments;-Multifunction pavi-llion;-Sports equipments;-Municipal pools;-Private hospital;-New municipal market;-Tannage factories;-Higways Porto/Gui-marães/Valença;

Veiga: Synthesis plan

Entrance Guimarães

General section: Thalweg treatment

Thalweg1. Longitudinal outline from a

riverbed from source to mouth.2. Line of steepest descent from

any point on the land surface.

Biological lines- treat water passage areas;- force sediment retention;- create vegetation corridors;- allow foot access to thalweg lines.

Intervention guidelines on thalweg lines

Remove piping areas- oxygenate water;- show their path.

River treatment- reduce erosion;- observation platforms;- define river limits.

Interpretation of an identity by the superimposition of its substrates

Intervention guidelines on thalweg lines

Schemes

a. water lines and associated parcels

c. thalweg lines transversal to Veiga

b. thalwegs as structure

d. reorganization of circulation routes

Thalwegs

What is the contemporary identity of Veiga?

Landscape units: The Highway fracture“ A dual view of landscape, specially explored in modernism, suffers today from a rupture due to a density of uses and a fragmentation of the landscape that breaks landscape con-tinuities. Many contemporary authors (...) try to rediscover continuities in landscape. This search is seen in the treatment of many ima-ges with a relationship between the first plane and the horizon, trying to unite them visually or conceptually”

Vincenzo Riso

Applying the general guidelines to a specific landscape unit, we wanted to:

-Recover the relationship between inhabitant (top) agriculture (valley), assuming Veiga as a landscape by and for the inhabitant and affir-ming continuities in landscape through the thalweg: Biological lines, pathways and pros-pect areas.-To accelerate the usage and soil recovery by integrating the highway and the grades crea-ted by it as an integral and dynamic area of Veiga.

Thalweg that stitches the highway to Veiga

Thalweg and highway.Synthesis plan

2006

20102004

Regeneration process

Agricultura preenche o terreno devoluto

Floresta pública preenche o terreno devoluto

António Brigas

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Agriculture fills the vacant terrain.

Public woods fills the vacant terrain.

thalweg

woodenpathway

Sections along thalwegs

Stitch and regenerate:Bird view

The theatre criticizes and questions the historic city

Pequenas parcelasagriculas

Street TheatreGuimarães

The theatre is a street with an inhabited roof. This roof has a (formal) stage, rehearsal and dressing rooms and equipment. The street underneath can give way for audience benches and lets you peep through the storage be-low. The street grows upwards through cranes and pulley-wheels, spotlights and dark curtains, platforms and metal

stairways that support or are suppor-ted by the living roof. When the theatre sleeps, the roof closes itself, the storage is locked and everything else is left to who passes by.

Whoever passes through the new alley between a beautiful square and the historical houses can see the theatre company: A Oficina. They asked for a building that allows performances, experimentations and rehearsals in a small parcel in ruins, 3.5 meters wide between too facades in the urban grid of the historic center of Guimarães, UNESCO world heritage.

In this patrimonialization context, the project claims for “its place in time” in the renovation of historic centers. A historic facade to the square is the only preexistence of the parcel. The roof stands back presenting the facade as an object of a theatre play, a scenery.

It is a critic to the “rehabilitation” taking place around it, turning inhabitants into actors of a big play.

Choosing light and dry construction systems (steel beams and pillars, cor-rugated zinc as ext. coating, etc.), the theatre tries to reflect its ephemerality by thinking in its deconstruction and re-ferring to the rebuilding process taking place in many of the parcels around it.

“It is always the popular theatre that saves the day.

Through the ages it has taken many forms, and there is only

one factor that they all have in common — a roughness. Salt, sweat, noise, smell: the theatre that’s not in a

theatre”

in The Empty Space, Peter Brook

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PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT



The facade is a scenery

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Floorplan , 1:200, 1mUsage schemes


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practice stage

individual practice rooms

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Longitudinal section

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Section C; 1:40 Practice rooms


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Zoom B; 1:20

Zoom A; 1:20

Detail of south facade; 1:20 South facade

Guillotine glass doorsallow full opening

DRAWINGS

Thank you.

antónio brigas portfolio

Documents

graphic design

architecture internship

interior design

drawing body

work process

portugal drawing nude

olympic park design

graphic novels