Embed Size (px)
DESCRIPTION
PORTFOLIO FOR THE MASTER PROGRAM IN ARCHITECTURE - TU DELFT, NL
Citation preview
Choosing the projects for this portfolio was a big challenge. All this process take me back in time. Made me revive e recall the good and not so good moments that I had from the beginning of my journey through the world of architecture. More than just show the qualities of my projects, I want, trough this portfolio, share all my moments of this journey. It is not just about projects, but also, a way to tell my trajectory, my story until today, in this eternal way of architecture that we are in.
I introduce my portfolio with my very project, done in the graduate school, Universidade de Caxias do Sul, Caxias do Sul, Brazil, project I studio, back in 2001. THE HOUSE FOR AN ARTIST project was, with no doubt, the initial point of my life as an architect. Although being a simple project, I already showed, since the beginning, that architecture for me shall transcend the built object and it doesn't have to be just walls, floor and ceiling.
The next project, that follows the House for an Artist, came to happen 5 year later. MIDIATECA MATARAZZO was my final graduation project at Faculdade Armando Álvares Penteado, São Paulo, Brazil. During this time I was intern in various architecture offices. I worked in many different fields and important projects, such as Parque do Povo, São Paulo, Brazil, and the master plan of Salto, Brazil, together with the architect José Moraes from Berkeley, University of California, at his studio. I won a honorable mention at a national contest called ENEPEA, in the landscape field, and two first prizes at academic weeks. Midiateca Matarazzo was the project that end up my graduate school in a honorable way. The project was graded with four grades 10, the higher possible, and was select to represent the school at the Ópera Prima national contest, for the bests final graduation projects in architecture in Brazil.
The third project presented, URBAN CONDENSER was develop in studio II, of the post-graduation program at Universidade Presbiteriana Mackenzie, São Paulo, Brazil. In this studio we didn't develop the technical projects that would make the construction. In the other hand the conceptual part was very well structured and developed. This project was a big challenge, once I had just and big area in São Paulo to work on, and the title of the project. Every students developed a totally different project. It is a project that I have an huge appreciation, because on it, I could put on the test some of my thoughts that I had developed during the program or even before. This project resulted in a essay, called Berrini: A New Place in the City. The jury graded this final essay with the higher grade possible.
The fourth project was developed as contest entry. The ART FUND PAVILION was project to transcend the physical space of exhibitions e become totally integrated in the context inserted. This project was made with my friend and colleague, Architect Pedro Ferreira.
Lastly I present, not only one professional project, but a COLLECTION OF IMAGES from the projects that I have developed as junior architect, senior architect, and architectural coordinator. With these images my intention is to show a little bit of the work that I had develop in two different offices in Brazil, from 2007 to 2010, and my ability to deal with a range of a lot of different projects and situations at the same time.
graduation | project I | 3rd sem.
author | max fabris
individual
supervisor | joão ramos
caxias do sul, brazil | 2002
How can we start thinking about a house for an artist? First, we must know who is the artist? The artist chosen in this case was a plastic artist, who worked with paint and litrography.The program called for the residence and the studio of the artist. It should have the comfort and privacy of house and the reclusion of a studio. But how can we have two programs, which repel each other, connected? The key to this question was physically connected to the site. The same had a topography that could deploy the residence in one corner and the studio in another, in a lower level. To counteract the gap and connect the program was added a new space. This would be the gallery of the artist, his own white cube, free of any programmatic and intellectual intentions, open to all options. A switch-over from a hospitable and subjective space to a stretched and without preconceptions one. From his world of certainties to his world of questions. Two spaces with specific characteristics linked by "emptiness".
000
ate
lier
ho
use
-190
-140
-436
ate
lier
ho
use
private
private
social
designing processconcept | house for an artist
graduation | final project | 5th year
author | max fabris
individual
supervisor | marcos costa
são paulo, brazil | 2002
Flashes/Frames occur due to orthogonal mesh and topography of the site where the boulevard is inserted
Voids/Empty Spaces occur due to inadequate deployment of the contemporary buildings in classical lots
Over 2.8 km Avenida Paulista is in need of green spaces. Has only a few places where pedestrians can enjoy the tranquility of nature in the agitated Avenue. The only park there is the Trianon, which was inaugurated in 1892 under the name of Park Villon. Years later his name had been changed to Siqueira Campos Park and then Trianon, as it remains today. It´s green is reminiscent of the Mata Atlântica and also has native species and several sculptures. The lack of spaces like these in the avenue is evident. Thus the life quality of the avenue is not favored. The concrete over the green is prevalent. Not so only the lack of green areas, but also the lack of public spaces along the avenue, deprives users to enjoy leisures places..
When we walk through the Paulista Avenue, we have the feeling of walking in a "boulevard". The continuous skyline, in that sense, with a single vanishing and infinite point, its median bed, and its urban elements such as posts, boards and others create that feeling. Its signing system escapes the human scale, but both pedestrians and vehicles can see it very clearly.
When traveling in this way we can notice the inconsistency of the implementation of the buildings on the avenue. With a classic blending, that borns from the old farms, and a contemporary deployment, it can be said that the Paulista Avenue is . Several problems are generated from this urban inconsistency. The largest are the gaps found between the buildings. Those who end up happening because of the retreats, are empty spaces that could be exploited in another way if the lots split had happened in a diferent way. We can say that the Paulista Avenue, when viewed in this perpendicular direction, looks like a "Swiss cheese“. We can note also that along the avenue come flashes, generated at the intersection of streets, in another words, on the corners. These spaces are very interesting because they generate single sights on the city, a new look at the city. We could call them "frames", therefore, create something that you can compare the sacred road, that is, the avenue becomes a journey where every corner opens a new look, a new event framed by buildings.
anachronistic
para
llel p
erc
eptio
n to p
aulis
ta a
venue
perp
end
icula
r perc
eptio
n to p
aulis
ta a
venue
São Carlos do Pinhal St.
Pam
plo
na S
t.
Cam
pin
as
Mall
former mansion
Paulista Avenue
former mansion
The site is located in the city of São Paulo - SP. South front is focused on Paulista Avenue, the west front on Pamplona St. and the north front on São Carlos do Pinhal St.. The site has an area of 12850m ², with 100m in the south front, 104.9m in the north front, 125.5m in the west front and 125.4m in the eastern edge. In the ground was located the former mansion and the farm of the Matarazzo family. A family of great prestige within the city's community that had its heyday at the time of the coffee barons.
São Carlos do Pinhal St.
Pam
plo
na S
t.
Cam
pin
as
Mall
gantry 2
trees
trees
trees stairs and retaining
The site hasn´t vegetative matter of great importance. It has the largest trees near the eastern border. In the remaining there are trees of the medium to large size isolated. The physical state of the species is considerable good, and they could be replaced.Paulista Avenue
gantry 1
trees
picutre of the site
The remaining gantry at the corner of Pamplona St. with the Paulista Avenue, is the element of memory more evident and more important. Its importance is due to the fact that it shows the concern of the original project, the mansion, with the city.
gantry 1
axis com
pare
d
with
the
corn
er
axis compared
with the corner
Paulista Avenue
Pam
plo
na S
t.
phys
ical e
lem
ents
of m
em
ory
The site has an important gap of 5m. Its quota 815m by the Paulista Avenue and 810m quota by the São Carlos do Pinhal St.. The occurrence of this gives to the site a great potential to be exploited on the ground floor, taking advantage of heights with smooth transitions and keeping in track the street level.
São Carlos do Pinhal St.
Paulista Avenue
terreno
Pam
plo
na S
t.
Cam
pin
as
Mall
815
814
813
812
811
810
815
The delimitation of uses that was consolidated in the region is evident. Along Paulista Avenue the corporate buildings and services appear, and there are also some residential buildings. After that band there is a mixed area, which stretches from São Carlos do Pinhal St. until the Santos Mall. Out of these two streets there is a predominantly residential area. The site is located just in a transition range. A range of interface between the corporate and residential. This band generates, from the beginning, a form of deployment, where activities related to services and trade are located along the Paulista Avenue, and activities with the character of leisure are located near the residential part, by São Carlos do Pinhal St.
São Carlos do Pinhal St.P
am
plo
na S
t.
Cam
pin
as
Mall
Paulista Avenue
reside
ntiall
reside
ntiall
reside
ntiall
mixed
int
erfa
ce
mixed
int
erfa
ce
mixed
int
erfa
ce
corporateservices
trade sector
cst
cst
cst cst
cst
site
Legenda:
São Carlos do Pinhal St.
Paulista Avenue
Pam
plo
na S
t.
Cam
pin
as
Mall
By analyzing the site, it is obvious that the lots of the old farms were divided, creating smaller plots. For the location of the project, there is, ana lyz ing the cu r ren t buildings, that the site could be divided into a several diferent lots. This form of division generated problems of urban and architectural framework for the area, l e a v i n g i t w i t h a n anachronistic deployment, in other words, classical lots with contemporary buildings.
site
buildings
imaginary lines dividing classical blending
São Carlos do Pinhal St.
Paulista Avenue
Pam
plo
na S
t.
Cam
pin
as
Mall
T h e P a u l i s t a Av e n u e depends on other streets for urban operation. In the studied case, it was found that the São Carlos do Pinhal St. works as binary, ie , a support for the traffic on the avenue. Being parallel to the Paulista Avenue, São Carlos do Pinhal St., by vocation, has a character of binary. This function appears clearly, once following the vehicle traffic, to cross the avenue is necessary to use the binary. Another important point, the buildings that are facing the two streets, use São Carlos do Pinhal St. as access to their parking lots.
site
São Carlos do Pinhal St.
Paulista Avenue
Pam
plo
na S
t.
Cam
pin
as
Mall
Currently the site is located in a private parking. The old gantries, still present there, have lost their input function. Along the metal fence that rises above the wall, was added a metal plate, to prevent viewing the interior of the site for security reasons. The site therefore has just two accesses. Part of the wall by the Paulista Avenue and São Carlos do Pinhal St. was torn down for the cons t ruc t i on o f two new accesses. The access from the Paulista Avenue is congested and eventually create traffic problems in the avenue. This problem occurs, mainly, because the existence of a bus corridor.
site
walls
todays access
This visual axis becomes real after a certain point, when it exceeds a certain quota of the buildings on the São Carlos do Pinhal St. For there is no physical barrier on the ground floor, we decided to move the body of the tower. He kept the top of the tower within this visual axis, creating an L-s h a p e d u p s i d e d o w n . Anhangabaú can spot from the balance in the top of the tower, because the same had been kept on the axis site-anhangabaú.This is a to open the barriers inside the city.
anhangabaú
the tower´s design
free ground for connection
trajectory in constant expansion
towards the infinite generating a cone
beginning of knowledgeplato´s exedra
midiateque
ibirapuerapark
museum da casabrasileira
trianon park
A straight line with a starting point and no end point toward the infinite. The cone was chosen inside the p ro jec t t o rep resen t knowledge. It has a starting point and a path to expand without end. We can do "games" of perspectives with this shape, by deceiving the user, creating feelings of distance or proximity, talking about physical, social, historical and economical issues.
illusi
on o
f dis
tance
ipiranga museum
university city
latin america memorial
masp
mube
republic
square
munic
ipal t
heate
r
anhangabaú
sé
public
ma
rket
pin
aco
teca
luz
statio
n
midiateque
casa das rosas
paulis
ta a
v.
Creates imaginary axis connecting the main addresses cultural city of São Paulo. These connections create a diagram used in the emblematic design of the facade. This design, generated from the diagram of linked addresses, generates on each floor a different positioning of the openings. Playing with light and shadow, creates different spaces on each floor and time of day. In each part of the tear created, the user will be able to enjoy a new perspective of the project and the area where it is inserted. We call these openings "windows of the curious", because they will encourage the users to go until they see something new. At night, when it will be illuminated, it will create a single view from the outside, which will remember the insertion of this new project in the cultural circuit of the city of São Paulo.
The project, as well as finding existing concepts in the MASP, as the interaction by and respect for the city, the issue of creation of public spaces, is a tribute to it. The high block is also one of the features present in both projects. The tribute is done by searching for structural references. As in the MASP, the main structure of Midiateca Matarazzo consists of grantries. Those are red, as well as the reference. The midiatheque project creates one more point in the cultural network of the City of São Paulo, which the MASP is already inserted in.
This element above refers to . The shape of it is circular. The speaker was positioned in the middle and transmitted his teachings to whoever was listening. This element is designed as a counter-point with the midiatheque, standing in the opposite corner of the site. It is understood that the computer, or digital media, nowadays, have became the former speaker. People are exposed to all kinds of information at any time in almost everywhere. Today, citizens no longer need to go after information in general, because it comes to them. To meet the «speaker» has become much easier. The midiatheque and exedra are connected by an axle. The same element generates spaces, f r o m t h e b a s e m e n t t o t h e r o o f . The aesthetic of the exadra´s entrance resembles a network. So, it creates the virtual boundary between the current and former world of information.
Plato´s exedra
The idea of a city where pedestrians can walk by it through a green corridor has been conceived a long time. The ground floor of the buildings could be used in areas already established as part of this green pedestrian corridor. In the region where the project is proposed, there are many buildings where the floor is likely to intervene. The opening of these buildings to the public user, on the ground floor allows the creation of this corridor, which could be extended throughout the city. In areas where modernist buildings are located, the idea of this corridor, this permeability, becomes more plausible, since one the modernism´s ideal is to leave the ground free. That would leave the city wide open. In practical terms, this idea would be impractical, because many factors, such as law, real estate and security, that prevent us, in many cases, having a higher quality of life.
SE
CT
ION
MID
IAT
EC
A P
LA
NS
AN
D S
EC
TIO
NS
OF
FIC
ES
BU
ILD
ING
PL
AN
S
UP
PE
R, G
RO
UN
D, U
ND
ER
GR
OU
ND
PLA
NS
post-graduation | studio II | 2nd sem.
author | max fabris, nei salem, rodrigo lacerda
group
supervisor | mario figueroa
são paulo, brazil | 2008
- make a urban condenser in Berrini, São Paulo- set up a new program- find a location to plot it
TH
E C
HA
LL
EN
GE
Berrini is a area in the city of São Paulo that has one of the biggest corporative buildings cluster in Brazil. After a deep urban study of the area we could divide it into two very different but consolidated parts.
Further more, we realized that the corporative area could be divide in three more areas. New corporative skyscrapers (are being building now), corporative skyscrapers (are built) and future corporative skyscrapers (there are some projects for this area, but the future is still unknown). This whole area is clearly defined by physical boundaries. The river, Berrini Av., Bandeirantes Av., and Roberto Marinho Av.
RE
SID
EN
TIA
L
CO
RP
OR
AT
IVE
We realized that besides this area has a physical cluster, it is somehow connected to the city and further more, to the world, trough the global network.
The hypothesis we suggested to this area was not how its development will be more connect to the city, but how can we connect the area itself? It is a local problem.
We found in this area a big lack of connections among its public spaces and corporative buildigins. They don’t work as a group, they work as individuals. Once they are connect they could improve the whole area.
Another interesting issue about the area is that it changes dramaticly its character everyday, specially after work time and weekends. People pretty much, just go there for work, than come back home, having no emotional connection with the space. The area turn itself into a ghost place in few hours. How can we change this also?
We found a sequence of four public areas that are not connect, right in the middle of the corporative area. As a first step we decided for connecting them with a low traffic street, with no more parking spots. With this action we were able to connect also pretty much all building’s ground levels straight to the local via. When extending the low traffic street to the borders, we also connect the future corporative skyscraper area and the new corporative skyscraper area to the whole area.
CO
RP
OR
AT
IVE
SK
YS
CR
AP
ER
SN
EW
CO
RP
OR
AT
IVE
SK
YS
CR
AP
ER
SF
UT
UR
EC
OR
PO
RA
TIV
ES
KY
SC
RA
PE
RS
In order to connect those three corporative areas, we used a low traffic via. With that we found a very specific spot, where we could plot our urban condenser.
public square berrini
station
public square
en
g.
luís
ca
rlo
s b
err
ini a
v.
ma
rgin
al p
inh
eiro
s
public square
public square
?
?
the urban condenser
phase
1
phase
1
phase 2
phase 2
With the plot location defined we need a program. The change of characteristic from the street to a low traffic via, we have increased the lack of parking spots in the area.
Because of this the first item of the program should be a parking lot.
Another lack of the area was cultural and remain activities. In order to improve this the program would have a art gallery or exhibition hall, library and a theater. To connect the building even more to the area, we plotted a open space with a market. In order to densify , residences were added to the program. To attend the huge amount of helicopters in this areas, a helipad was added, suitable for at least four helicopters at one time.
Now, how could we integrate all functions together with the area? We projected a path, in this case a linear park, that would emerge from outside to inside the building, a continuity of the city itself.
With programmatic master plan solved, the project should be done in two distinguished phases.
parking lottheaterart galleryhelipadparkmarket
libraryresidences
art gallery
The Art Boxes are rotated for a better sunlight in the open spaces.
phase
1parking lot
The subtraction of some parts of the prism enables the creation of open spaces.
The plane is bended up, and under it spaces are created. The visual control is enlarged.
Place one plane over the other, as layers, creates the parking lot.
Add those connections between the art gallery, as a extension of it, and the parking lot, connecting the program back again.
The theater is the ultimate piece that connects the whole program and turns it into a closed circuit, a infinity path.
The vertical circulation, that has stairs and elevators, is placed in a very strategic place, connecting the whole program.
In the top of the vertical circulation was added a helipad.
connection to the libraryphase 02
The sight view box is the last piece of the building. Facing towards the whole area, it facades contain a info panel.
parking lot sight view box
art box theater
circ.|helipad market
contest entry
author | max fabris, pedro ferreira
group
woking, england | 2009
access
access
v3
v1
v8
v4
v2
v6
v5
v7
10
0%
op
en
| 0
00
% c
lose
d
05
0%
op
en
| 0
50
% c
lose
d
10
0%
clo
sed
| 0
00
% o
pe
n
v1 | closed view v2 | closed view
v3 | open view v4 | closed view
v5 | closed view v6 | closed view
v7 | open view v8 | closed view
conceptual essayThe adopted design allows this object to be deployed in various sites. Its volumetric,
composed of blades, allows the assimilation to anywhere. This quality fade / appear
mixes site and object. Designed to be mounted in 48 hours and sawed in 24 hours,
the blade system, in this way, becomes crucial in this process. Its logistics are
facilitated through this system. The object is formed / bounded by walls, which are
generated by filled spaces (blades) and empty spaces (between blades). For
transport, the space between blades disappears, so its volume diminished
considerably. The materiality of the object is the very site where it is deployed, since it
is composed mostly of empty space. The site meets these spaces between blades,
changing the meaning of the pavilion in each place that it is deployed. When
disassembled for transport or storage, the object dissolves itself completely into the
space, it loses all meaning and remains only in memory. Thus, first the object bends
the space, than changes the space, and finally opens up the space for future
possibilities. These future possibilities on the site, beginning to be developed as soon
as the object is disassembled and evacuate the site. The empty spaces, that
generate the object, before defined, again become the place of deployment in
essence. A virgin place again, which was once corrupted, to be re-explore and re-
meaned. The object finally comeback to become what it always was, a ghost that
appears to reframe reality.
+ =50cm50cm
50
cm
defining accesses+
user interface
subtraction creates acesses+
color marks acesses
1st | fo
rmin
g b
ox
2nd | form
ing s
pace
the cube
the cubes the blades cubes together = set of blades
the box the space the object
how to make a cube with the less surface possible?
diagonals = triangle | structuremore stability
modules design
lightbox
architect | 2007-10
In this final part of my portfolio, I want to show a little bit of my professional work, developed between jan.2007 and sep.2010, in two different offices.
First I present some works developed at Debora Aguiar & Arquitetos Associados, in São Paulo, Brazil, between jan.2007 and jan.2008. I worked as a junior architect at this time, pretty much working with interior design. I was inside the whole process, since the first sketches, presentations, execution project, meeting with clients and partners and the final construction.
At the second part I show some of my works developed at Itamar Berezin Arquitetura, as a senior architect, from fev.2008 until dec.2009. I was part of the new products team, being responsible for the development of new projects, such as residential towers, hotels and corporative towers. In this period I was in charge for something around fifty different projects. The technical knowledge was very important to put together the client’s will, technical viability of construction and budgte. Something around 90% of the projects are being built or are already built.
Lastly, I was invited, after two years, to go back at Debora Aguiar & Arquitetos Associados as a architectural coordinator, in charge of the the department of houses. The team I used to coordinated developed the whole process, from the first conceptual sketch until the end of the construction. At this time we have made something around fifteen houses there. Ten are being built and the others were canceled. The house’s square meter would range from 600m² until 2500m², from the country to the beach, modern from classical. They were the client’s will.
debora aguiar & arquitetos associados junior architect
itamar berezin arquiteturasenior architect
debora aguiar & arquitetos associadosarch. coordinator
