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02 TABLE OF CONTENTS03 CURRICULUM VITAE

04 RELEVANT PROFESSIONAL EXPERIENCE

05/34 SELECTED WORKS

02

09 PUBLIC BATHS . BADAJOZ . ESPANHA

24AGRITOURISM FACILITY . PONTE DASSI . GUBBIO . ITALIA

33UNKNOWN SOLDIER MEMORIAL . LUANDA . ANGOLA

34PAU CASALS, COL.LECCIONISTA D’ART EXHIBITION . MAMT

27CHURCH AND PASTORAL CENTRE . LEIRIA . PORTUGAL

17CULTURAL FACILITY . SAN LORENZO . ROMA . ITALIA

CURRICULUM VITAE

PERSONAL INFO

NAME . FÁBIO AZEVEDO ADRESS . RUA DOS SISMEIROS, ANDRINOS, 2410-016 LEIRIA, PORTUGAL

DATE OF BIRTH . 28/06/1987 EMAIL . [email protected]

NATIONALITY . PORTUGUESE PHONE . 00351 914 216 177

EDUCATION

BACHELOR’S DEGREE IN ARCHITECTURE

UNIVERSIDADE DE ÉVORA

MASTER’S DEGREE IN ARCHITECTURE

UNIVERSIDADE OF ÉVORA / UNIVERSITà DEGLI STUDI DI ROMA - FACOLTà DI ARCHITETTURA LUDOVICO QUARONI)

CERTIFICATE IN ADVANCED ENGLISH (CAE)

CAMBRIDGE UNIVERSITY ESOL EXAMINATIONS

SKILLS AND COMPETENCES

LANGUAGE PROFICIENCY

PORTUGUESE ENGLISH ITALIAN

UNDERSTANDING UNDERSTANDING UNDERSTANDING

SPEAKING SPEAKING SPEAKING

WRITING WRITING WRITING

SPANISH FRENCH

UNDERSTANDING UNDERSTANDING

SPEAKING SPEAKING

WRITING WRITING

TECHNICAL SKILLS

SOFTWARE

GRAPHISOFT ARCHICAD ADOBE PHOTOSHOP

AUTODESK AUTOCAD ADOBE AFTER EFFECTS

MAXON CINEMA 4D ADOBE INDESIGN

AUTODESK 3D S. MAX ADOBE ILLUSTRATOR

VRAY RENDER ENGINE GOOGLE SKETCHUP

DRIVER’S LICENSE . A1 / B1 / B

03 . CV

04

RELEVANT PROFESSIONAL EXPERIENCE

2011

AGRITOURISM FACILITY . GUBBIO, ITALIA

ARCHITECTURE COMPETITION BY INVITATION FROM FACOLTà DI ARCHITETTURA LUDOVICO QUARONI

MASTERPLAN, PRELIMINARY DESIGN

COLOR MARKETING GROUP - 2012 EUROPEAN MEETING . LISBOA, PORTUGAL

CO-ORGANIZER / INVITED MEMBER

URBAN PLANNING . MANTOVA AND SABBIONETA, ITALIA

TEAM OF ARCHITECTS AND URBAN PLANNERS HEADED BY ARCH. PAOLA FALINI

INVITED COLLABORATOR

2012

BRAND DEVELOPMENT / NEW CORPORATE IDENTITY AND COMUNICATION STRATEGY

LN GROUP

CREATIVE

CHURCH AND PASTORAL CENTRE . LEIRIA, PORTUGAL

ARCHITECTURE COMPETITION

MASTERPLAN, PRELIMINARY DESIGN

2013

ARMCHAIR

THE EGO . BY ARCHITECTS

FURNITURE DESIGN

AVRIELLE STORE

HA+JE ARQUITECTURA

COLLABORATOR / 3D VISUALIZATION

UNKNOW SOLDER MEMORIAL . LUANDA . ANGOLA

ARCHITECTURE COMPETITION . PROJECT MANAGEMENT BY PBARQ - ARQUITECTURA PAISAGISTA

RESPONSIBLE FOR ARCHITECTURE PRELIMINARY DESIGN

PAU CASALS, COL.LECCIONISTA D’ART

MAMT - MVSEV D’ART MODERN TARRAGONA

TEMPORARY EXHIBITION PROJECT . 3D VISUALIZATION

05 . SELECTED WORKS

PUBLIC BATHS

2009

BADAJOZ . ESPANHA

ACADEMIC PROJECT

MASTER IN ARCHITECTURE . UNIVERSIDADE DE ÉVORA

DESCRIPTION

Walking along the riverside of Badajoz, it becomes clear that this is the

materialization of the relation between the city and the Guadiana River.

However, the quality of existent spaces along the interception line of

these two realities shows that the intention of bringing the city to its

river remains to be fully achieved. Eventually, the walk path parallel to

the river becomes imperceptible as it comes closer to elements that,

due to scale and other characteristics, block its humanization and

consequently dictate the absence of a purpose at its ending.

Therefore, the idea is to create that ending, receiving who comes from

the riverside walk with two platforms – one at the level of the path, the

other at the level of the river. Then, a dike makes the transition to the

other margin, designing a water-square with the river limits (meant

for the scale of the city) that counterbalances the imposingness of

the hills but on the horizontal projection. Upstream, the water level of

the dike becomes higher, intensifying the relation of the city with the

watercourse – in this case, an affluent of Guadiana.

Finally, the implementation of the public baths building concludes the line

by materializing its ending and giving it the missing purpose – one that

suggests people to use and live it.

The memory of early public baths at that place is recovered while

intensifying its interest with tensioned relations between built volumes

and resulting water spaces.

06

PHOTOGRAPHIC SIMULATION / ORTHOPHOTO . PUBLIC BATHS

07

AXONOMETRIC PROJECTION . PUBLIC BATHS

01 . TRANSLUCID SCREEN

02 . EXTERIOR POOL STAND

03 . INTERIOR POOL STAND

04 . RECEPTION

05 . BAR / WC

06 . PLATFORM

07 . RAMP

08 . WATER SQUARE / SCREEN VIEW

09 . OLYMPIC POOL

10 . EXTERIOR POOL

11 . INTERIOR POOL FOR CHILDREN

12 . LOCKER ROOMS

13 . THERMAL BATHS

14 . PLATAFORM - RIVER SIDE

08

SECTION . FLOOR-PLAN LEVEL 01 . FLOOR-PLAN LEVEL 02 . PUBLIC BATHS

09

3D SIMULATIONS . PUBLIC BATHS

10

MODEL AND PRESENTATION BOARD . EXHIBITION OF SELECTED WORKS - EXTREMADURA LIBRARY, BADAJOZ

11

CULTURAL FACILITY

2011 / 2012

SAN LORENZO . ROMA . ITALIA

ACADEMIC PROJECT . MASTER’S THESIS

MASTER IN ARCHITECTURE . UNIVERSIDADE DE ÉVORA / UNIVERSITà DEGLI STUDI DI ROMA - FACOLTà DI ARCHITETTURA LUDOVICO QUARONI

DESCRIPTION

The proposed cultural facility includes an extensive program with an

infrastructure to host different cultural events (approx. capacity of

2000 spectators); an equivalent underground parking lot; a park with

leisure areas and greenhouses to grow flowers; and a square that not

only articulates the new cultural facility with the Basilica di San Lorenzo,

Cemitero del Verano, and the University Campus, but also creates the

necessary conditions to set a non permanent flower market or any

other outdoor event like such.

The conceptual intention behind this project is not a simple addition of

spaces and functions, but rather a structure that works as a whole –

utilizing systems of integration and interaction – and is, within itself, not

only a place but also a process enabling machine.

The idea of a machine that enables processes and stimulates reactions

is expected to be the fulcrum for the urban regeneration of San Lorenzo,

but its optimal functioning depends on the creation of auxiliary systems

of interaction and communications that keeps a sense of connection and

fluidity regarding the dichotomy between the people and the place.

These systems exist, once again, as a whole, but to better structure

and understand the thought process behind them, subdivisions can be

established as for their nature:

A first one, of local interactions, defined by an idea of sustainability

and supported by low-tech mechanisms; and a second one, of global

interactions, defined by an idea of cultural interactivity and supported by

high-tech mechanisms.

The first system reuses another one, currently almost extinct but once

quite significant, in which local craftsmen would sculpt marble pieces and

produce the gravestones for the cemetery.

With the extinction of this labour, the demolition of the workshops

(degraded and without urban consolidation) becomes unavoidable, as a

similar kind of logic can be implemented in a preferable way – the growth

of flowers in a new structure created for that purpose (greenhouses)

and their sale. The same structure would also enable, besides a closer

contact with nature in a fundamentally urban environment, educational

activities and the idea of sustainability, as it would be possible for a local

resident to rent a space for his own small-scale agricultural production.

The second system uses the several structures of the cultural complex

as communication interfaces. The greenhouses become mobile – moving

along rails and permitting space changeability and flexibility of its use for

different events – and obtain communication properties since they not

only get lit in different colours but its material is also touch sensitive,

which creates direct interactivity with users.

The main hall is also designed with the intention of receiving

multimedia projections on its exterior walls turning it into a privileged

communication hub – for instance, to promote future or current cultural

events.

This interactive system can be activated in several different ways, the

standard procedure being the use of projections prior to the event, and

the full activation of all mechanisms from the moment it starts, this way

sending a clear message to the city.

12

PHOTOGRAPHIC SIMULATION / ORTHOPHOTO . CULTURAL FACILITY

13

MODEL 1/2000 . CULTURAL FACILITY . SAN LORENZO . ROMA

14

PHOTOGRAPHIC SIMULATION / ISOMETHRIC ORTHOPHOTO . GREENHOUSES DISPLACEMENT

15

FLOOR-PLAN LEVEL 0 . FLOOR-PLAN LEVEL 1 . CULTURAL FACILITY

16

SECTION A . SECTION B . SECTION D . CULTURAL FACILITY

17

3D SIMULATIONS . CULTURAL FACILITY

18

3D SIMULATIONS . FOYER . MAIN HALL

19

HTTPS://VIMEO.COM/67533869

20

AGRITOURIM FACILITY

2011

PONTE DASSI . GUBBIO . ITALIA

ARCHITECTURE COMPETITION BY INVITATION

FROM FACOLTà DI ARCHITETTURA LUDOVICO QUARONI - UNIVERSITà DEGLI STUDI DI ROMA

DESCRIPTION

The goal of this proposal is to create a system, working on the territory

scale, that allows to enjoy the landscape and perform several activities

of agritouristic nature.

This system is translated into a clear gesture that is to redesign two

lakes, and connect them with a walkway parallel to an existent waterline.

A new implemented facility reuses an already deactivated industrial

structure (a ceramic factory from which the hovens are kept) and

is formed by a multifunctional area (that works as reception to

costumers), a wing of guesthouse rooms, and finally a suport structure

for agricultural activities - all connected by a cirridor that ends in a

magnificent viewpoint for the small town of Gubbio.

A subsystem - of public and semi-pulic spaces, formed by a square,

automotive circulation areas and gardens - allows the functional

implementation of this secondary system (the facility) onto the main one

(the lakes).

The conceptual intetion behind these systems is to create agricultural

resources that visitors can utilize for a certain period of time, while

staying at the comodity of a guesthouse. They can rent their own

farming space as they enjoy all that this region has to offer.

21

PHOTOGRAPHIC SIMULATION / ORTHOPHOTO . AGRITOURISM FACILITY

22

MASTERPLAN . AGRITOURISM FACILITY

01 . LAKE

02 . FARMING AREA

03 . GARDENS

04 . SQUARE

05 . WALKWAY / WATER LINE

06 . AGRITOURISM FACILITY

07 . WATER ACTIVITIES FACILITY

23

AXONOMETRIC PROJECTION . AGRITOURISM FACILITY

01 . AGRITOURISM FACILITY

02 . RESTAURANT

03 . TERRACE

04 . GARDENS

05 . CONNECTION WALKWAY

06 . AGRICULTURE FACILITY

07 . VIEWPOINT

08 . PRAÇA

09 . WALKWAY / WATER LINE

10 . ENTRANCE / RECEPTION

11 . EXHIBITION AREA / INDUSTRIAL OVENS

12 . ADMINISTRATION AREA

24

3D SIMULATIONS . AGRITOURISM FACILITY

25

CHURCH AND PASTORAL CENTRE2012 / 2013

LEIRIA . PORTUGAL

ARCHITECTURE COMPETITION

MASTERPLAN, PRELIMINARY DESIGN

DESCRIPTION

A concrete platform that lies over the slope, and the white body of the

naves that stand on it - these are the two gestures that not only define

the process of the project, or its construction, but also represent the

atmosphere of the spaces created:

the first as support for a community - as a place to learn, share

experiences, or pray;

and the second as a moment of faith celebration.

The emotional load felt within these spaces comes from the way the light

comes in, the simplicity and axiality of their form and the pureness of

their materialization.

When arriving, the churchyard proceeds the prominent concrete façade

- with a sobriety that contrasts with the reflections of the dark blue

tilework cladding its indentations. A wooden door leads to the interior.

The nave, also in wood up to the human dimension level, then turns into

a pure white that extends to the ceiling and the altar, where it’s flooded

with light from a strongly symbolic vertical opening.

On the lower level - the support platform - a pastoral centre lives around

the inner courtyard with several facilities such as a chapel, classrooms,

technical areas, and an events hall that also opens to a square on the

exterior.

26

FLOOR-PLAN LEVEL 0 . FLOOR-PLAN LEVEL -1 . SECTION . CHURCH AND PASTORAL CENTRE

27

3D SIMULATIONS . CHURCH

28

PROTOTYPE . ARMCHAIR

ARMCHAIR

2013

THE EGO . BY ARCHITECTS

FURNITURE DESIGN

29

UNKNOWN SOLDIER MEMORIAL2013

LUANDA . ANGOLA

ARCHITECTURE COMPETITION . PROJECT MANAGEMENT BY PBARQ - ARQUITECTURA PAISAGISTA

RESPONSIBLE FOR ARCHITECTURE PRELIMINARY DESIGN

DESCRIPTION

An opening on the main stairs of the grand platform allows to perceive a

passage to the inner square, confined by the platform itself.

This square anticipates the entrance for the memorial, and is meant to

emphasize the emotional side of the ceremonies that may occur inside.

The entrance leads down to a corridor that distributes the visitor to the

Tomb room on the right, and the Chapel on the left.

Apparently similar but with distinct depths, these rooms are visually

connected by an element that works as an axis and creates tension

between them - a water plane on the vertical projection of a voided

tower that fills it with light.

Contrary to the exterior spaces of this memorial that praise the

achievements of the country and its army, the interiors reflect the

emotional dimension and respect for the symbol of the Unknown Soldier.

Its materialization - exposed concrete and white marble - suggests a

certain weight and coldness that somehow is counterbalanced by the

warmth of the light over the water.

30

FLOOR-PLAN LEVEL 1 . FLOOR-PLAN LEVEL O . UNKNOWN SOLDIER MEMORIAL

31

SECTION 01 . SECTION 02 . SECTION 03 . UNKNOWN SOLDIER MEMORIAL

C03

C01C02

32

3D SIMULATION . UNKNOW SOLDIER TOMB

33

3D SIMULATIONS . CHAPEL

34

3D SIMULATION . MAMT

PAU CASALS, COL.LECCIONISTA D’ART

2013

MAMT - MVSEV D’ART MODERN TARRAGONA

TEMPORARY EXHIBITION PROJECT . 3D VISUALIZATION